“Why do we love our writing teachers so much? I think it’s because they come along when we need them most, when we are young and vulnerable and are tentatively approaching this craft that our culture doesn’t have much respect for, but which we are beginning to love. They have so much power. They could mock us, disregard us, use us to prop themselves up. But our teachers, if they are good, instead do something almost holy, which we never forget: they take us seriously.” George Saunders offers a timeline of his writing education over at The New Yorker.
Want to learn filmmaking from a self-proclaimed “soldier of cinema”? Then sign up for a class with Werner Herzog. The enigmatic director, whose films include Grizzly Man and Fitzcarraldo, announced he’ll be teaching a course in the summer through the online provider Masterclass.
“I would argue that decent books coverage in a daily newspaper — especially when it’s presented in such a way that readers are likely to stumble over it and discover titles they might not otherwise have heard of — is more supportive of writers in the long run than a scholarship program.” At Salon, Laura Miller explores literary culture and the downsides of the MFA, which include teaching high school.
It’s been a good year for Alfred Hitchcock, what with Vertigo beating out Citizen Kane in the once-a-decade Greatest Movie of All Time poll conducted by Sight and Sound. At Full-Stop, Rachel Baron Singer takes a look at Hitchcock and The Girl, both of which examine “the dark side” of Hitchcock’s genius.