It’s been a good year for Alfred Hitchcock, what with Vertigo beating out Citizen Kane in the once-a-decade Greatest Movie of All Time poll conducted by Sight and Sound. At Full-Stop, Rachel Baron Singer takes a look at Hitchcock and The Girl, both of which examine “the dark side” of Hitchcock’s genius.
One of the struggles of being a writer is that everyone else is trying to turn your life into a story. Rebecca Makkai comments on well-intentioned friends who suggest story ideas at Ploughshares. Read a piece of her story (or screenplay) below: “WRITER: So I was like, 'Excuse me, are you with the Secret Service?' and she’s like— NEIGHBOR’S BOYFRIEND: Wait, wait, have you written this down? Aren’t you a writer? This would make a great story!”
Over at the Oyster Review Alexandra Edwards takes a literary tour of Florida, guided by "a few writers who chart Florida’s strange vacillation between the modern and the primordial," including the likes of Elizabeth Bishop, Zora Neale Hurston and Ernest Hemingway. Our own Nick Moran has also profiled the literature of the Sunshine State, though his take was a little more "Floridapocalyptic."
We’ve written a fair bit about the By the Book series at the Times. You can read a selection of the best entries in a collection published by the paper. This week, the series featured another novel guest: Alan Gilbert, the conductor of the New York Philharmonic. Sample quote: “I don’t seek out books about music. I’ve read them over the years, but somehow, as a genre, it isn’t something I am specifically looking for.”
"When you go to Narnia, your worries come with you. Narnia just becomes the place where you work them out and try to resolve them." Lev Grossman writes for The Atlantic about The Lion, the Witch and the Wardrobe and why fantasy isn't escapism. Pair with our own Edan Lepucki's review of Grossman's latest novel, The Magician's Land.
"My mind moves toward apocalypse fictions the way we think about a forgotten friend, or a partner that’s left us—grief becomes its own comfort." Adnan Khan writes for Hazlitt about how apocalypse fictions mirror the immigrant experience and vice versa.