Out this week: The Ensemble by Aja Gabel; Kickflip Boys by Neal Thompson; A Shout in the Ruins by Kevin Powers; Tin Man by Sarah Winman; How to Change Your Mind by Michael Pollan; and Last Stories by William Trevor.
“This is worth repeating to yourself every day as you sit down at your keyboard: You must write to the end of the story. You must make progress toward that end today. A sentence, a paragraph, a chapter. You must push the story forward, forward, forward. Don’t stop until you get to the end.” Hugh Howey on the Amazon Author Insights blog about how to write a rough draft. Pair with a popular and wonderfully motivating piece by Nick Ripatrazone, “Don’t Worry. Don’t Wait. Write.”
Poet turned playwright Sarah Ruhl’s latest stage production, Dear Elizabeth, is based on the correspondence between Elizabeth Bishop and Robert Lowell. She recently spoke to Ruth Graham about her inspiration, and whether other writers’ letters could be adapted for the stage as well. (As an aside: you really should read The Clean House if you haven’t already.)
“After [WWII], the other Finnish artists formed themselves into political groups but Tove wasn’t a joiner; besides, the only political activity she enjoyed was tyrant-baiting. She decided to emigrate to the island kingdom of Tonga but the governor wrote back saying there was a housing shortage and she wouldn’t be welcome. So she created her own Tonga: Moominland.” A new biography looks at the “conflicted life” and creative work of Tove Jansson, whose name has appeared several times here at The Millions.
You may have heard that Noah Berlatsky wrote a book about the early days of Wonder Woman. The book explores gender dynamics in Wonder Woman comics from the forties. At The Rumpus, Berlatsky talks with Arielle Bernstein about early comics, radical politics and the mind of William Marston.