“You can’t be worrying how you sound. You can’t wonder whether you or your characters are likable or smart or interesting. You have to be inside the scene—the tactile world of tables and chairs and sunlight—attending to your characters, people who exist for you in nonvirtual reality.” Paris Review editor Lorin Stein writes for The New York Times about solitude in the age of the Internet and the future of the book.
Stay up until 4am reading that new release? Dread your early alarm after a night spent with a book? Maybe you’re just on Flaubert‘s schedule. Or, if you find it easy to fall asleep before midnight and enjoy early mornings, perhaps you’re running on Victor Hugo time. New York Magazine has compiled an infographic of the sleeping habits of geniuses, and the good news is that no matter when you fall asleep and wake up, someone brilliant has more or less kept your same schedule. So take heart, late-night readers and early risers. We’re all in good company.
George R. R. Martin’s publisher shared an excerpt from the author’s story, “The Princess and The Queen, or, The Blacks and The Greens.” The piece serves as a “Westerosi history lesson on the Targaryen Civil War,” and covers “the Causes, Origins, Battles, and Betrayals of that Most Tragic Bloodletting Known as the Dance of the Dragons.” It will be bundled along with 20 other stories in the forthcoming Dangerous Women collection. The question remains, however: what kind of recipes does it feature?
When you want to distinguish fiction and poetry writing from academic work or journalism, you use a straightforward term: creative writing. But what if that term is not the one you should use? At Slate, an article on the subject by Cydney Alexis, originally published by Inside Higher Ed.
The final installment of Elena Ferrante’s Neapolitan Novels, The Story of the Lost Child, hits shelves next week. Emma Adler at Electric Literature has compiled a helpful Ferrante Study Guide if you’re feeling a bit lost. Cora Currier’s Millions essay on “reading Italy” through Elena Ferrante’s body of work is an ideal complementary read.