Over at Catapult, Benjamin Wood writes about his eulogy for his grandfather, which led to his writing of The Ecliptic. As he puts it, “Or maybe, in this time of grieving, I was thinking only with my heart until my head began to listen. Today, it seems as though the entirety of The Ecliptic was held within my consciousness before I ever glimpsed a piece of it, and grief was what enabled me to notice.” Pair with Nagihan Haliloğlu’s Millions review of the novel.
New Yorkers! Come out tonight and celebrate Kingsley Amis alongside the Volume 1 Brooklyn crew, the New York Review of Books Classics publishers, and also such guests as Parul Sehgal, Rosie Schaap, and Maud Newton. There will be free gin! However if you can’t make it, you can treat yourself to the Kingsley Amis Desert Island Discs from the comfort of your own home. The discs, recorded around the time The Old Devils was published, reveal the author’s views on “novel mechanics,” the “Welsh temperament,” and his affinity for jazz.
We all doodle, but Meg Wolitzer gets inspired by it. When she was writing The Interestings, she frequently drew her way into her characters. “I sometimes drew crude, Harvey- and Archie-inspired images of my characters, in keeping with the spirit of Ethan Figman and Figland,” she wrote in The New Yorker.
PW points out yet another publishing industry totem being torn down by the rise of e-books, the first printing number, once a signifier of how “big” publishers and the media expected a book to be: “In an era when first printings are down because e-books can account for as much as 50% of sales on frontlist titles, the term ‘first printing’ sounds more and more out of place.”
Recommended reading: Sean Singer reviews Poetry of Witness for The Rumpus and calls for readers to see “poems as ethical and political act[s] in the face of extremity.” Pair with selections from editor Carolyn Forché‘s essay on 20th century poetry of witness.
“I will tell them one of the greatest, perhaps the greatest story of all — the story of good and evil, of strength and weakness, of love and hate, of beauty and ugliness. I shall try to demonstrate to them how these doubles are inseparable — how neither can exist without the other and how out of their groupings creativeness is born.” John Steinbeck, American literary titan and author of The Grapes of Wrath, certainly knew a thing or two about creativity.