In the latest from The Atlantic’s By Heart series, ex-Granta editor John Freeman discusses Louise Erdrich’s interpretation of Faulkner in Love Medicine. Pair with an essay on the pacing of Faulkner’s prose.
How do you know when you’re finished writing a novel? Electric Literature’s advice column, The Blunt Instrument, tackles the timeless questions of how to begin and when to end. If it’s endings you’re after, this piece from The Millions on writers and last lines will help give you some closure.
After fourteen years, Bookslut is closing its doors. In a post that went up on March 9th, founder Jessa Crispin announced that the blog she started when she was twenty-three, which made a name for itself as one of the first major book sites on the web, is ceasing publication as of tomorrow, May 6th. She talks with Boris Kachka at Vulture about why it’s closing, what she’s learned about the publishing world, and what it was like when she started: “People who started blogging even a year after us didn’t have the same response because the audience got divided.”
“The older I get, the more my own boundaries seem to be fading, which is terrifying and fascinating in equal measure.” For The Paris Review, Lucie Shelly interviewed Lauren Groff about nature, spirituality, and her newest collection, Florida. (Our review called the collection “startling and precious.”)
Fans of the French Oulipo movement will know about A Void, the Georges Perec novel written entirely without the use of the letter “e.” What very few readers of any kind know, however, is that in 1939, thirty years before Perec’s novel was published, Ernest Vincent Wright wrote a book in English, Gadsby, that hewed to these same constraints. At The Atlantic, Nikhil Sonnad investigates how this experiment plays out in the book.