For LitHub, Elizabeth McCracken proposes, at last, a unified theory of doughnuts: “Perhaps I cling to doughnuts because doughnuts still exist in the world, though Woolworth’s and Howard Johnson’ses don’t.”
“This is the odd space these Theory Generation novels inhabit, making them peculiar novels of ideas. Their writers have read enough Theory at a young enough age to be in continued thrall to its power; they do justice to the disorienting shock those texts once had, and perhaps still have. Yet they are old enough to ironize (tenderly or bitterly) that power.” Are you a member of the theory generation?
A recent survey of 19th century British literature uncovered advertising subtly placed within classic texts by authors like Dickens, Austen, and Thackeray. From Vanity Fair, for example: “‘My sisters say she has diamonds as big as pigeons’ eggs,’ George said, laughing. ‘How they must set off her complexion! Surely she avails herself of Madame A.T. Rowley’s Toilet Mask (or Face Gloves)…’” (via Book Bench)
“There are many ways to define ‘success’ as a writer,” and Jeffrey Condran writes about his own path to and definition of writerly success for The Missouri Review‘s blog. Hint: it has something to do with craft, something to do with editing, and a lot to do with a certain magazine.
Have you ever wondered what The Great Gatsby would sound like? Designer Vladimir V. Kuchinov made The Generative Gatsby, a book that features typography based on famous 1920s jazz songs. “The following work is a visual experiment, a study of how music of this era, its rhythms, syncopations and patterns could alter prose to a new typographic frontiers keeping content legible as it could be,” he writes on his website.