“I don’t try to deliver a message, teach, inform or ‘give back’ in my books. I simply want to tell a story. My writing is totally separated from my activism and social service, which are channeled through my Foundation.” Megan Bradshaw interviews Isabel Allende for Asymptote Journal.
"To some degree, as I move outside of the exclusive genre audience, the exclusive genre issues don’t bother me as much." The Atlantic talks with N.K. Jemisin, the first black writer to win speculative fiction's Hugo Award for Best Novel for The Fifth Season. We wrote about Jemisin's work when she was nominated for the Hugos a few years back.
At The Awl, Noah Davis provides an honest overview of how difficult it can be to earn – or fail to earn – a living from freelance internet writing. Perhaps would-be freelancers should take a cue from Ian Hamilton’s 1998 London Review of Books essay in which he espoused the benefits – or perils – of accepting prizes and other literary subsidies.
Over at The Atlantic, Terrence Rafferty claims that women are writing the best crime novels. “Their books are light on gunplay, heavy on emotional violence. Murder is de rigueur in the genre, so people die at the hands of others—lovers, neighbors, obsessive strangers—but the body counts tend to be on the low side,” he writes. Pair with this Millions piece on novels where women are true detectives.
Look, it's hard being the bloodthirsty kingpin of a multinational drug smuggling cartel. Apparently Joaquín “El Chapo” Guzmán has been feeling a bit sorry for himself post-capture, so what did Eduardo Guerrero, head of Mexico's prison systems, think would cheer him up? He brought him a copy of Don Quixote.
Christopher Higgs was teaching Grace Krilanovich’s The Orange Eats Creeps, and one of his students was inspired to make a mixtape featuring “the twisted, crusty, and often sublime characters found within the novel.” (The book, by the way, was one of my selections for Year in Reading last year.)