The newest issue of Granta features some seriously captivating work, like this poem by Juliana Spahr and this story by Lorna Gibb, among many others. This “Possession” issue pairs well with an essay by our own Lydia Kiesling on possessing one’s own words and the narrative potential of leaked emails.
The CIA might just be America’s most literary government agency, no? Not only did they (maybe) help fund the early days of The Paris Review but, according to Eric Bennett, the group also funded the nation’s most prestigious and storied creative writing program. Over on Iowa Public Radio, you can hear some details.
“Aspiring journalists tend to worship at the altar of Joan Didion,” writes Heather Havrilesky (who some of you may know as Polly) in the latest issue of Bookforum. The fact that so many writers look up to Didion as an example necessitates that the lit world find at least one offbeat alternative. In Havrilesky’s eyes, that alternative is obvious: the late Nora Ephron was the anti-Didion, she argues.
Because its administrators believe “self-publishing is now a highly successful and respected business model for both new and established authors,” The University of Central Lancashire has created a Self-Publishing Masters program. (Clearly they didn’t read Edan Lepucki’s Millions article from 2011.) According to the program’s official website, “this dynamic course … reveals how to make self-publishing work for you.”
George Dobbs explores the history of some common cliches for The Airship and makes an elegant argument for being aware of overused phrasing: “The worst fiction might never go beyond widely used tropes, but the best fiction starts with an awareness of them.” We agree, and also hope never to read “It was a dark and stormy night…” again.