“How can a horrific event, so monstrous it seems incomprehensible, be told? How does one even find the words to write about it?” For The Paris Review, Matteo Pericoli takes a look at Slaughterhouse-Five and the bridge between fiction and architecture.
Do you live near Athens, GA? Come out tonight to support a newly opened indie bookstore: Avid Bookshop. Or, if you can't make that, hit up tomorrow's "Kids' Day" at the same place. They have a Twitter account, too.
Granta has a new series in which authors explain how they arrived at successful opening sentences. In the latest installment, Colombian author Héctor Abad links the brain chemistry that inspired him to write his chosen sentence with the chemistry that inspired him to fall in love with his wife.
Ever wondered how the fact-checking process works? Well wonder no longer. The Columbia Journalism Review posted an excerpt from their recently published Art of Making Magazines collection, and it explains The New Yorker’s workflow as well as the perils of “Shoot-the-Fact-Checker Syndrome.”
We like big books and we cannot lie. But are books just continuing to get longer and longer? A new survey of bestsellers has concluded that the average book is now 25% bigger than its counterpart fifteen years ago. The Guardian investigates. Mark O’Connell at The Millions has his own theory about long books.
"Every culture has its monsters," and Jason Diamond writes about the Headless Horseman and one of the oldest American horror stories for Electric Literature.