The New York Times asked graphic artists if “the power of storytelling could be communicated in one panel,” and they responded in comics, of course. For more comics, read Paul Morton’s essay on the 25th anniversary of Drawn and Quarterly.
In an interview about her new book, The Day I Shot Cupid: Hello, My Name Is Jennifer Love Hewitt and I’m a Love-aholic, Jennifer Love had some rather startling advice for jilted young ladies: “After a breakup, a friend of mine Swarovski-crystalled my precious lady. It shined like a disco ball so I have a whole chapter in there on how women should vagazzle their vajayjays.”
Gordon Lish is famous for being Raymond Carver’s very involved editor, but his work has never been thoroughly considered before. David Winters, Greg Gerke, and Jason Lucarelli have set out to change that with a roundtable discussion of Lish’s legacy. “What can we learn from Lish? Well, we can take away a set of techniques, to be sure; ‘rules,’ if rules are useful to us. But we can also salvage something that looks almost lost in our time: a sense of the real, lived stakes of writing, its risks and its rewards.”
NME journalist and Man and Boy author Tony Parsons has been named London’s Heathrow Airport’s second writer in residence. He will use his weeklong stay to research for his new book Departures: Seven Stories from Heathrow. It will be released in October, and the BAA plans on distributing 5,000 copies to airport customers. In 2009, Alain de Botton served as the airport’s first writer in residence, and he used his stint to pen A Week at the Airport.
We’ve heard about the weak dollar making things tough on Canadian readers, but the pain is being felt by Canadian publishers as well, as profit margins diminish. The latest casualty is publisher Raincoast Books.Philip Agee died today. His Inside the Company in 1973 may have created a modern day genre, one that would be contributed to by many former agents, the CIA tell-all.The Atlantic reaches deep into the archives to bring us “The History of Children’s Books,” from 1888:It is hard to imagine a world without books for children. There have been children’s stories and folk-tales ever since man first learned to speak. “Many of them,” in Thackeray’s words, “have been narrated, almost in their present shape, for thousands of years since, to little copper-colored Sanscrit children. The very same tale has been heard by the Northmen Vikings, as they lay on their shields on deck; and by the Arabs, couched under the stars in the Syrian plains, when the flocks were gathered in, and the mares were picketed by the tents.” Children’s books, however, are a late growth of literature. Miss Yonge says, “Up to the Georgian era there were no books at all for children or the poor, excepting the class-books containing old ballads, such as Chevy Chase, and short tales, such as The King and the Cobbler, Whittington and his Cat.” We shall nevertheless see that there were English books for children (and it is with no others that we have to deal) long before this time.
“I don’t know what wave feminism we are in now. Fourth? Fifth? But Ms. Attenberg, it depresses me to no end that the gritty, credible, less kissed-by-God heroine of your book, Andrea Bern, a single, childless, 39-year-old straight woman, a character created almost 50 years after Mary Richards, is still realistically struggling with and defying convention because she isn’t married.” On Jami Attenberg’s new novel.