Dave Griffith writes for The Paris Review about reading Flannery O’Connor’s “The Displaced Person,” an immigrant story set in the South, in the age of Islamophobia. Pair with Nick Ripatrazone’s Millions essay on teaching and learning from O’Connor.
Tony Tulathimutte offers advice on lowering word count: Merge scenes, murder characters, quit writing altogether: “merge scenes, murder characters, ‘start as close to the end as possible’ (Kurt Vonnegut), quit writing altogether.” Pair with this Millions piece on writing slowly and by hand.
Could James Baldwin be America’s greatest essayist? Ta-Nehisi Coates believes so -- at The Atlantic, he argues that The Fire Next Time shows Baldwin committing “amazing acts of intellectual and emotional courage.” (Related: Buzz Poole paid tribute to Baldwin back in 2008.)
"If you read through all the citations, you’ll start to detect certain patterns. Any aspirant Nobel Prize–winner should take note—these may hold the key to victory." The Paris Review has read through all of the Nobel Prize-winner citations and came to a couple of conclusions, such as "you should be great... but it also helps if you’re epic. Oh, and fresh!" Pair their piece with our own overview of newest laureate Patrick Modiano's work, and The New Yorker's look into the translation of Nobel Prize-winning authors.
New this week: Pushkin Hills by Sergei Dovlatov; The Divorce Papers by Susan Rieger; Hyde by Daniel Levine; Cambridge by Girl, Interrupted author Susanna Kaysen; Decoded by Mai Jia; Visible City by Tova Mirvis; The Moon Before Morning by W.S. Merwin; and Caribou by Charles Wright.