Recommended Reading: Alice Walker and Colm Tóibín discuss adaptations of their work for film and stage. Pair with our article on breaking down the Oscar for adapted screenplay.
On Adaptation
Hot Amish Romance
Is it hot in here, or is that my Amish friendship bread? New York calls our attention to a new genre: the bonnet-ripper.
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Get Bent, Collier County.
The MFA program at Florida Atlantic University launched Swamp Ape Review, a new national online literary journal. For their first print issue, which is set to publish next year, they're accepting submissions from writers in South Florida, such as Martin, St. Lucie, Palm Beach, Broward, and Miami-Dade counties. For a nice primer on the journal's namesake (or, rather, its alias), I direct your attentions to Bill Kearney.
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Branded
"It is all bricolage for personal identity building," says Rob Horning of N+1, providing a somewhat bleak image of the "fast fashion" industry and social media, and what can be expected from the future.
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You Can Watch 24 If You Don’t Sleep At All
Attention Cinephiles: You can watch Hulu’s Criterion Collection films for free all weekend long.
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Comparing Hatchets
The Omnivore has announced the shortlist for its the Hatchet Job of the Year Award, honoring "the author of the angriest, funniest, most trenchant book review of the past twelve months." Worthy candidates all, though we note that our review, written by Holloway McCandless, of Michael Cunningham's By Nightfall is perhaps even more trenchant than (and was published over a month before) Adam Mars-Jones' shortlisted review, which, like ours, found Cunningham's endless references to the literary canon tiresome.
Confessing / Confiding
"I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes." Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.
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