“A lot of writers are big readers. Very often, when you’re writing your day’s work, something you write will remind you of something that you read. And the thing that you read shines a kind of light on the sentences that you’re writing. So I think it would be very hard to write without having read a great deal.” Listen to Salman Rushdie chat with Paul Holdengraber about poetry, film, and his latest project. Liam Hoare writes on the implications of Rushdie’s fatwa.
Chatting with Rushdie
Writing the Transracial Adoptee Experience
"I wanted to be really careful about not pretending to write The Transracial Adoptee’s Experience, because (1) there is no such thing, it’s going to be different for everyone, and (2) I feel strongly that those stories should be told by the adoptees themselves, if they choose to share them," Year in Reading alum Celeste Ng, author of Little Fires Everywhere, in conversation with Nicole Chung.
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“Instead of Sobbing, You Write Sentences”
"Most of the time I think of the self as a snare, and I don’t like being trapped in it. I try to reach out beyond my pittance of experience and connect to the world, but it turns out one way to do that is to be honest and accurate about my own life." Leslie Jamison interviews Charles D'Ambrosio for The New Yorker. Pair with our own Hannah Gersen's review of D'Ambrosio's Loitering.
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The Rise of the Insta-Poet
How do I love thee? Let me turn the contrast down and put a Valencia filter on it. Instagram poets like Lang Leav and Tyler Knott Gregson may be the future of poetry–but is their work deserving of their massive followings?
Plath People
"A month ago, I touched a lock of Sylvia Plath’s hair." At Tin House, Emma Komlos-Hrobsky examines the relationship between the late poet and her fans.
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A Frank Poet
"Say surrender. Say alabaster. Switchblade. / Honeysuckle. Goldenrod. Say autumn. / Say autumn despite the green
in your eyes. Beauty despite / daylight. Say you’d kill for it. Unbreakable dawn / mounting in your throat. / My thrashing beneath you / like a sparrow stunned / with falling." Last week, Ocean Vuong published his newest collection, Night Sky With Exit Wounds. This week, it seems to be all anyone can talk about (because it's fantastic). Here's a piece from The New Yorker on Vuong and his designs for the English language.
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“So I think it would be very hard to write without having read a great deal.”
And yet the canals and rivers and sewers and creeks and gutters and plumbing are clogged with content created by people who tried to get away with exactly that.