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.
Writing Writing
The Two Percent
What would happen if two percent of the world’s population disappeared overnight? HBO’s new teaser for its adaptation of Tom Perrotta’s The Leftovers asks us to contemplate that question. From what we see so far, it looks terrifying. The series premieres on June 15.
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The Lives of Women
The Feminine Mystique turns fifty this month, and to mark the anniversary, Noah Berlatsky wonders how Agnes Grey, an Anne Bronte novel, illustrates and critiques the arguments made in the book.
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Philip Roth v. Wikipedia
Philip Roth, who just authorized Blake Bailey to be his official biographer, has written an “Open Letter to Wikipedia” wherein the author states his grievance with the site’s entry for his novel The Human Stain. Related: can we just give this dude the Nobel already?
Sex, Drugs, and Literary History
Will anyone read Chuck Klosterman in a hundred years? Jonathan Russell Clark explores the possibility over at The Literary Hub: “What fate awaits the author of books so rooted in a given era? Can the accomplishment of capturing now remain significant or noteworthy forever? Will anyone read Klosterman in the future? And if they do, how will they read him?” In the mood for more JRC? How about his essay on the art of the first sentence?
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Jewel Boxes
Colm Tóibín’s new book on Elizabeth Bishop is unusually hard to categorize. Part “primer,” part “personal reflection,” in Jonathan Farmer’s words, it moves back and forth between analysis and lyricism, alternating passages of beauty with nuts-and-bolts guides to Bishop’s poems. In Slate, Farmer tries to nail it down. You could also read our own Michael Bourne’s review of Tóibín’s The Master.
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Renata Adler’s Dazzling Hurdles
Gary Indiana posits that “no current literary label appealingly describes the kind of narratives [Renata Adler’s] Speedboat and Pitch Dark are.” This might be true. However in the name of moving forward with discussion, perhaps we can all go with Matthew Spektor’s summation of Adler’s debut novel: “if it’s ‘like’ anything at all, a steeplechase of [dazzling] hurdles could be it.”
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Good Grief
With his depressive musings, Charlie Brown was the original Morrissey. At “This Charming Charlie” tumblr, Lauren LoPrete pairs The Smiths lyrics with Peanuts comics to hilarious effect.