When you want to distinguish fiction and poetry writing from academic work or journalism, you use a straightforward term: creative writing. But what if that term is not the one you should use? At Slate, an article on the subject by Cydney Alexis, originally published by Inside Higher Ed.
“A chemist colleague of mine runs a seminar in which art and science are brought together. And one such session was devoted to olfaction. And there was an olfactory physiologist from Columbia and a friend of his, a parfumier. Forgive my French accent. And the parfumier had made something unlike anything ever encountered on earth. And it had a very strong smell which aroused no associations and could not be compared to anything. One realized this was absolute novelty.” The Rumpus interviews Oliver Sacks about his new book, Hallucinations.
Lots of new books out this week: Where Mortals Sleep, previously unpublished short fiction by Kurt Vonnegut, with a foreword by Dave Eggers; A Life, one of what will be several biographies of J.D. Salinger arriving over the next couple of years; Stanley Fish tells us How to Write a Sentence: And How to Read One; Brian Greene introduced the masses to string theory with The Elegant Universe, and now he’s back with The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos; Julie Orringer’s The Invisible Bridge is out in paperback; and finally, from Penguin Classics, The Penguin Book of Victorian Women in Crime: Forgotten Cops and Private Eyes from the Time of Sherlock Holmes.