Writing for 300 Reviews, a platform which aims “to find a home for criticism of subjects that are neglected in traditional venues,” Level End author and Tuscaloosa Runs This editor Brian Oliu explains a Southern rite of passage: Taking Someone to Waffle House After the Bars Close.
When you want to distinguish fiction and poetry writing from academic work or journalism, you use a straightforward term: creative writing. But what if that term is not the one you should use? At Slate, an article on the subject by Cydney Alexis, originally published by Inside Higher Ed.
2010 is soon to be over. That means that The Morning News Tournament of Books is almost upon us. Two excellent developments this year: 1) the folks behind the Rooster have released the longlist of titles under consideration to make the final 16 (including The Singer's Gun by our own Emily St. John Mandel) and 2) they have left one judging spot open that you (you!) can apply to fill.
"Our literary culture has distended and warped by focusing so much power in a singular place, by crowding the gatekeepers into a small ditch of commerce. A review in the Times trumps everything else. You can’t tell me that this doesn’t affect what is, finally, bound into books, marketed, and sold. Which designates what can be said and how one says it. Why do we cede American letters to a handful of corporations that exist on a single concrete patch?" This piece by Matthew Neill Null at The Literary Hub raises a lot of extremely important questions about what gets published and why.
"Motherhood remains more of a choice for some than others, and yet our varying degrees of agency are rarely acknowledged by the mainstream narrative upheld by the vast majority of what has (disparagingly) been referred to as 'mommy lit'." An essay in Buzzfeed about pregnancy, queerness, and three upcoming memoirs about motherhood (and non-motherhood). Pair with: an essay about motherhood as muse.
The B.O.M.M. blog looked at our recent item Best American Short Stories: By the Numbers, in which we crunched some numbers behind the Best American Short Stories series, and created a nifty word map of the short story titles that appeared in the series from 1978 to 2008. "The most frequent word for a title (not including articles and such)? Life. It has appeared 9 times." If anyone else decides to mine some interesting discoveries from the B.A.S.S. data, let us know.
Anya Ulinich, author of Petropolis, talks to World Literature Today: "What else can a person do when she gets home after a ten-hour work day - with a toothache that she can't afford to fix . . . - but fall on the couch and watch whatever is in front of her face?" . . . Lydia Davis, whose Collected Stories is just out, talks to Sarah Manguso for The Believer: "At the origin of the work there has to be strong feeling, if it’s going to be any good. Of course, that strong feeling can be a delight in language." . . . The Book Bench unearths a 1978 John Updike interview with a Croation periodical, which finds the Rabbit Angstrom author halfway through his tetralogy. . . . Edwin Frank of NYRB Classics talks to Omnivoracious, and selects his favorite books in the series (via). . . . And James Ellroy submits to interrogation at The Paris Review: "I was always thinking about how I would become a great novelist."