Lindsey Drager considers the novella and argues that it is neither a feminine form nor a smaller type of novel. As she puts it, “while other fiction aims outward, the novella curls in, coiling around itself until there’s no distinction between the story’s body and the story’s shell.” Pair with our own Nick Ripatrazone’s essay on the art of the novella.
This Is Not a Novel
Which Wilder?
We’ve written about the newly published Laura Ingalls Wilder memoir several times, but a new review in the LA Times calls attention to one of the most interesting questions raised by the work: how much influence did Wilder’s daughter Rose Wilder Lane, an accomplished author in her own right, have on the final Little House books?
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The New Yorker on The Late American Novel
The folks at The New Yorker’s Book Bench offer their take at The Late American Novel: Writers on the Future of Books. (Spoiler Alert: Katherine Hepburn gets a shoutout.)
Love to Hate
Just in time for AWP, The New York Times has published a look at “Why Writers Love to Hate the MFA.” We’ve published several other perspectives on the degree over the years, like this, this, this and this.
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Russian Slapstick
“Russian humor is to ordinary humor what backwoods fundamentalist poisonous snake handling is to a petting zoo. Russian humor is slapstick, only you actually die.” Ian Frazier writes about the strange humor of Daniil Kharms for the New York Review of Books.
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The Evolution of the Asterisk
Claire Cock-Starkey traces the history of the asterisk, from its appearance in medieval texts to its modern-day use in footnotes and pseudo-censorship.
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