This week in the New Yorker Jane Hu analyzes the “dispassionate first-person narrators” prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works. “Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian.”
Brian Nitz wants environmentalists and writers to seriously consider whether the word “sustainable” is, well, sustainable. (Related: this XKCD comic)
Dispirited by the deluge of advance review copies and publishing mailers (a plight to which I can relate), Ron Charles decided to forego traditional book criticism for the time being and instead to focus on reviewing something more immediately practical: a bookcase.
Pulitzer winner Tony Horwitz describes – in incredibly depressing fashion – his experience publishing Boom, a digital short representing his first foray into “the brave new world” of digital publishing. Two takeaways for aspiring writers that are not explicitly mentioned, however: don’t write without a contract, and be sure to use an agent from the get-go.
Font geeks will get a kick out of this witty Tumblr site that mashes up glam shots of Ryan Gosling with lessons on the proper, and improper, uses of many typographical fonts and symbols.