Over at Bloom check out this 3-part feature—a conversation and excerpts—on fiction writers-cum-memoirists Robin Black (If I Loved You I Would Tell You This, Life Drawing) and Natalie Serber (Shout Her Lovely Name)—former classmates at the Warren Wilson low-res MFA program, both later-life bloomers, and both “writing for their lives” in new memoirs.
Writing for Their Lives
Miles to Go before I Sleep
Our own Nick Ripatrazone writes for The Atlantic about the tradition of writers who love to run, from Haruki Murakami to Joyce Carol Oates. Pair with Ripatrazone’s Millions essay on writing as training.
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Dublinalia
It’s common for descriptions of James Joyce’s Dubliners to label its stories portraits of Irish life. If you’d like to look at actual portraits of Irish life in 1904, however, you could do a lot worse than this series of old photos of Dublin, available online courtesy of the Google Cultural Institute.
The Tactile Comic Book
A designer from Copenhagen, Philipp Meyer (not the novelist), has created the first comic book for the blind. “Most of the tactile material that is available for blind people is very information dense. It’s always about information and not often about art,” he says.
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Plotting The Booker: An Infographic
Are you writing a novel about an escaped tiger? (They’re quite popular these days.) Well, if you hope to win the Booker prize, you’d increase your odds by 1,300% if you switched your theme to “death.”
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“I learned to look outward more”
“There are dangers for an artist in any academic environment,” says former Poetry editor Christian Wiman, who now teaches at the Yale Institute of Sacred Music. “Academia rewards people who know their own minds and have developed an ironclad confidence in speaking them. That kind of assurance is death for an artist.”
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Eleanor & Park on Screen
Our favorite teenage misfit couple is coming to the big screen. Dreamworks will adapt Eleanor & Park with Rainbow Rowell writing the script. Filming doesn’t begin until 2015, so you have plenty of time to read the book. Here’s our own Janet Potter’s review.
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