“I couldn’t tell if a poem I was writing would come to anything or not until the last line was there. That’s always been my method. I may have revised less than some other poets, but I think I write as much crap as anyone.” Kaveh Akbar interviews Sharon Olds about inspiration, contemporary poetry, and rejection letters for Divedapper. Pair with this Millions piece, featuring seven editors looking back on their rejection styles.
Year in Reading alumna Ottessa Moshfegh has a new story in this week’s issue of the New Yorker, titled “The Beach Boy.” Moshfegh also spoke with Deborah Treisman about her writing: “Isn’t it hilarious when people are blind to their own arrogance? For some, no amount of American liberal-arts education, charitable contributions, or hours spent listening to NPR will ever wake them up to their own privileged, bigoted, and classist attitudes. [...] One might say that New Yorkers like the folks in 'The Beach Boy' are especially susceptible to the kind of stupidity I love to write about—the stupidity of entitlement.”
"'Tuya' means 'graffiti' in Chinese—the name is recent—and this street, three-quarters of a mile long, may be the longest stretch of public art in the world. It’s also a government-sanctioned 'art district,' centered around the Sichuan Fine Arts Institute, which was established in 1940...I noticed that every artist I spoke to referred to 2005 as the year everything changed. 2005 was the year the government became interested in art." Art in Chongqing.
You’ve probably heard it before: never end a story with the phrase “it was all a dream.” Unfortunately for the person who taught you this rule, many classic stories (including Anna Karenina) take place at least partially in dreams. In the NYRB, Francine Prose investigates the trope in fiction.