It’s that time of the week wherein I remind you about the hilarious series over at Electric Literature, “Ted Wilson Reviews the World.” This week, Ted tries his best to remain impartial while reviewing that one sneeze he had: “The sneeze I had came on so quickly I didn’t have time to put my hand over my face and the spray went everywhere. It made me wish I had been standing over a salad bar so there would have been a sneeze guard handy. That’s why if I’m about to sneeze at Olive Garden I immediately sprint for the salad bar.”
Writer’s block: the eternal struggle, right? Thankfully, Ted Scheinman asked some of his favorite writers for their remedies, and he compiled them into a helpful list. “Do try these solutions, alone or in combination,” he urges. “’Mix and match’ is the cry.” (Related: You can also check out the “daily routines of famous creative people” for inspiration, as well.)
Recommended (Long) Reading: This lengthy excerpt from the latest book in Karl Ove Knausgaard’s My Struggle series. In it, Knausgaard is introduced to the literary world and stresses a great deal over his own claims to artistic merit: “Deep down, I was decent and proper, a goody-goody, and, I thought, perhaps that was also why I couldn’t write. I wasn’t wild enough, not artistic enough, in short, much too normal for my writing to take off. What had made me believe anything else? Oh, but this was the life-lie.”
Photographers who are tired of weddings should start shooting book covers. When New Directions asked to use one of Allen Frame’s photos for the cover of Robert Bolaño’s Last Evenings on Earth, he gave them access to his archive instead. Today, nine Frame photos have been used on Bolaño book covers. You can view them here or at New York City’s Gitterman Gallery.
Gertrude Stein once said of Oakland that “There’s no ‘there’ there.” If the latest novel by Michael Chabon, Telegraph Avenue, is any indication, not everyone agrees — the author set the book in the Oakland of 2004. At The New Yorker’s Page-Turner blog, Matt Feeney delves into the book’s racial politics.