Is Karl Ove Kanusgaard’s seven-volume, 3,600-page, vaugely-autobiographical epic possible to pitch over the course of an elevator ride? The good people over at n+1 are willing to give it a shot! Have you ever wondered about the view outside of Knausgaard’s window? I bet you have now.
Just Give Me a Minute
“In the distance, a low rumble. A train?”
Barrelhouse editor Dave Housley wrote a “Commercial Fiction” piece for Hobart’s website about the “trippy magical realism” in Coors Light advertisements. You know what that means, right? People all over the world! Join hands. Start a love train. (Love train.)
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Dancing with The Rumpus
Tonight’s the night, Brooklynites! Join friends of The Rumpus for an evening of comedy, readings, and (of course) dancing. Festivities begin at 8pm.
Thanks But No
Rejection is something all writers face and no one’s pretending it’s pleasant, but worse than the rejection itself are the hours spent deciphering where a submission went wrong. Thankfully Lincoln Michel at Electric Literature was inspired by a 1920s rejection slip to create a self-explanatory “thanks but no thanks” note. While we’re thankful these aren’t the norm, we can definitely see the appeal…
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The Drama of Rejection
We’ve all been rejected; after all, we’re writers. Yet sometimes it’s nice to know someone has it worse than you. With that in mind, New Hampshire Public Radio presents dramatic readings of famous rejection letters. Pair with: Our ask a writing teacher on rejection from various literary journals.
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Inquiry and Imagination
At The Nervous Breakdown, Micah McRary talks with Leslie Jamison about her use of POV, her new book of essays and whether her criticism might be dubbed “evasive biography.” You could also read our interview with Jamison or else read Ryan Teitman’s review of The Empathy Exams.
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Indie Bound
Naysayers, consider this: in the digital era, the brick-and-mortar bookstore might be experiencing a resurgence.
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This is the thing that mystifies me about Knausgaard. However good or bad the books are (I’ve only read the first one), how on earth – in this age, in this economy – did he convince a publisher to that a seven-part quasi-autobiographical series was a good idea? How did he pitch it so that a publisher would say “YES LET’S PRINT ALL OF THEM”? Was it really the strength of his previous work? It’s a head-scratcher for anyone who’s ever tried to pitch just one book.