“In my adolescence people spoke of ‘café intellectuals,’ not with the respect due to a sect that transmits ideas within the cramped space of a table but with the contempt reserved for those who turn their backs on reality and take refuge in vain speculation.” Juan Villoro on the writing life in Mexico City’s cafés as part of the “Writing Life Around the World” series for Electric Literature.
"And, it really means so much to us to watch our birds fly out of the high school nest and into an income bracket that could really benefit the Annual Fund this year. I mean, we have 85% of our goal, but as you know, that’s only a B. And we know that you are an A student." Ah, what a heartwarming and totally genuine letter from my private, nonprofit high school congratulating me on my new job. Thanks, McSweeney's.
The late Pulitzer-Prize winning historian Dr. Manning Marable “informed his family that one of his passing wishes was to make his work available to incarcerated individuals.” His collection of authored works has recently been donated by his family to Otisville Correctional Facility.
"All war literature, across the centuries, bears witness to certain eternal truths: the death and chaos encountered, minute by minute; the bonds of love and loyalty among soldiers; the bad dreams and worse anxieties that afflict many of those lucky enough to return home." In an omnibus review for The New York Times Michiko Kakutani looks at the fiction and journalism being written about the wars in Iraq and Afghanistan, including recent Year in Reading alum and National Book Award winner Phil Klay's Redeployment and Dexter Filkins’s The Forever War, "the one book that most fluently and kaleidoscopically captures both the micro and the macro of Iraq." She also wonders, and attempts to explain, "why has there been no big, symphonic Iraq or Afghanistan novel?"
"That’s always been part of my goal — to show the dark side of women. Men write about bad men all the time, and they’re called antiheroes. ... What I read and what I go to the movies for is not to find a best friend, not to find inspirations, not necessarily for a hero’s journey. It’s to be involved with characters that are maybe incredibly different from me, that may be incredibly bad but that feel authentic." Gillian Flynn and Cheryl Strayed talk with The New York Times about the adaptations for Gone Girl, Wild, and writing credible characters. Their conversation pairs well with our own Edan Lepucki's essay on likability in fiction.