“They found, unsurprisingly, that blocked writers were unhappy. Symptoms of depression and anxiety, including increased self-criticism and reduced excitement and pride at work, were elevated in the blocked group; symptoms of obsessive-compulsive disorder, such as repetition, self-doubt, procrastination, and perfectionism, also appeared, as did feelings of helplessness and ‘aversion to solitude’—a major problem, since writing usually requires time alone.” On the causes of writer’s block.
Unhappy Writers Are Unhappy in Their Own Ways
The Housewife Novel
Recommended Reading: On the history of literature about housewives, from Madame Bovary to Dept. of Speculation.
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Finishing Novels in Prison
The China Daily has an article today criticizing corrupt Chinese officials for signing lucrative book deals in prison. They must not know that some of the world’s most influential works of philosophy and fiction were written in the slammer.
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An Evening With The Millions
This Sunday, come out to the KGB Bar and meet The Millions! A pile of staffers including C. Max Magee, Garth Risk Hallberg, Emily St. John Mandel, Sonya Chung, and yours truly will be there, and a good number of them will be reading their work. The event even ends by nine, so you can rush home to see Mad Men.
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Madame Bovary, Say Wha?
Ruth Franklin rises to the defense of much-maligned (and newly retranslated) Emma Bovary.
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Hemingwrite
Modern technology has finally developed a device that aims to aid all perpetually distracted writers – the cleverly titled Hemingwrite.
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Please, Sir, I’d Like Some More Time
Recommended Reading: a piece from the New York Review of Books blog on modern attention spans and what they mean for literature. Hint: it’s not looking too promising. Tim Parks closes with a prediction that “the novel of elegant, highly distinct prose, of conceptual delicacy and syntactical complexity, will tend to divide itself up into shorter and shorter sections, offering more frequent pauses where we can take time out. The larger popular novel, or the novel of extensive narrative architecture, will be ever more laden with repetitive formulas, and coercive, declamatory rhetoric to make it easier and easier, after breaks, to pick up, not a thread, but a sturdy cable.”
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