“Writing about film applies pressure to how ekphrastic writing can be possible, let alone evocative–and further, highlights questions that pertain to all kinds of writing, from honing poetic imagery to composing entire fictive worlds: how can writing engage or transform the fidelity of its subject(s)? How do you write about something so simultaneously ephemeral and fabricated, and yet intuitively, enduringly ‘real’?” For Ploughshares, Veronica Fitzpatrick on writing about film. Pair with this Millions piece on literary magazines in film and TV.
Catching you up to speed with two recent literary controversies: 1) Poets & Writers‘ MFA rankings kerfuffle gets a climactic and eloquent summary from The Missouri Review‘s Michael Nye. 2) In response to her Salon article, “How the National Book Awards made themselves irrelevant,” Victor LaValle has some fightin’ words for Laura Miller.
If you’ve ever heard that literary skill is synonymous with a good memory, you’ve likely bemoaned your own forgetfulness, especially when it comes to important things. Tim Parks felt the same way, until he read a new book on forgetting, which led him to wonder how much knowledge we can retain. In The New York Review of Books, he tackles the paradox of the reader’s memory. You could also read our own Mark O’Connell’s review of Parks’s book Italian Ways.
The finalists for the 2016 Hugo Awards were announced a few days ago, and it looks like the reactionaries may have struck another blow. A group which calls itself “The Sad Puppies” has been stirring up political controversy at the Hugos for a few years now. Founded in 2013 by writer Larry Correia, who was highly critical of the Hugos for favoring what he believed were “academic” works that allegedly promote “left-leaning messages,” the Puppies have since campaigned vigorously to have writers whose ideologies line up with their own make the final ballot.
Some folks were abuzz this week about the release of all 47 endings to Ernest Hemingway’s novel A Farewell to Arms. That kind of commitment to a single story is impressive, and illustrates the author’s dedication to his work, but as Andrew O’Hagan points out in the London Review of Books, Big Papa loved no story so much as his own.
“At the train station in Cerbère, France, M. and I have survived the grueling hike on the Sentier de la Liberté Walter Benjamin.” For Catapult, Gwen Strauss writes about climbing the path that Benjamin used to flee the Gestapo, only to take his own life at its terminus. See also: Kyle Chayka‘s recommendation of The Work of Art in the Age of Mechanical Reproduction in our own pages just last week.
“Puzzled as to why her mother had not figured out “Miriam” on her own — or why, after Capote became famous, she did not say much about her letter and his answer — Ms. Akers sought clues.” The New York Times writes about recently discovered letter from Truman Capote to a young reader who misunderstood his first published story. Read our own Michael Bourne on the tragedy of Capote’s life.
The New York Times Book Review commissioned a work of fiction about the election from Chimamanda Ngozi Adichie. She chose to write about Melania Trump. If you can handle more Trump, check out Greg Chase’s portrait of a Trump supporter, based on Faulkner’s The Sound and The Fury.