A new YA series spun off from The X-Files explores Fox Mulder’s teen years, and you can read the first chapter here. You may also be forgiven for feeling like the entire premise is a bit fraught. Not only is the mental image of Spooky Mulder with acne a tad jarring, but on a more existential level, as Zan Romanoff has written for our site, “there is no such thing as the young adult novel.”
Authors are known to mine material from their personal relationships for their writing, but John Updike found inspiration from his interviews. After journalist William Ecenbarger wrote a profile of Updike in 1983, he found himself the subject of an Updike short story. Pair with: Our review of Updike's Collected Stories.
"Since I often biked to my therapist’s, he took note of my helmet and asked how my new exercise regimen was going. It’s going great! I said. I love it! I wish I’d known earlier that I ought to bike. Now I hated going underground. It was like the death instinct to go underground, into the subway. I never realized I hated it so utterly until I didn’t have to do it anymore." On riding a bike in New York.
"Why do we spend so much time with stories whose endings we already know?" Derek Thompson writes about nostalgia and culture for The Atlantic, and his piece pairs well with Katy Waldman's Slate essay about "thinking that you’re not getting as much from reading as you used to."
At Bloom this week, check out the feature on novelist Jon Clinch, and the accompanying Q&A, where Clinch talks in-depth about his decision to self-publish his fourth novel after having his first two published by Random House. He says that his second novel, Kings of the Earth, "was set up for success: Oprah’s magazine put it at the top of their summer reading list, and it went on to be named one of the best novels of the year by theWashington Post. But the Oprah nod came six or eight weeks before publication date, and Random House either couldn’t or didn’t capitalize on it. By the time the book hit the shelves, it was already forgotten. I simply couldn’t bear the possibility that The Thief of Auschwitz might slip into the abyss."
Part Into the Wild, part Portrait of the Artist as a Young Man, Howard Axelrod’s The Point of Vanishing is the story of his two years spent in profound solitude in the Vermont wilderness. Called “torture” by prison rights activists and “a threat to mental stability” by psychologists, Axelrod’s decision to sequester himself from society was nothing if not extreme. Alexander Supertramp would be proud.