With another film adaptation coming soon, Jane Austen‘s Emma is back in the cultural conversation. For JSTOR Daily, Erin Blakemore examines the popularity of the novel’s matchmaking protagonist, questioning whether she or another character, Jane Fairfax, is the true heroine. “Well-behaved and wary in public and witty in private, Austen chafed at societal obsessions with marriage, rank, and social status,” Blakemore writes. “That makes Emma a decided aberration. Unlike her other novels, which star put-upon women trying to navigate social systems that constrain them, Emma stars the ultimate insider, the kind of woman for whom those structures of hierarchy have been designed.”
“I hope they also love that experience of surprise and delight and really engaging stories in the fiction sense, but also in the writers at work sense and in the poetic sense.” A Vanity Fair interview with Emily Nemens, The Paris Review’s new editor. And here’s a list of 20 reasons you should absolutely be reading literary magazines.
At McSweeney’s Internet Tendency, a disgruntled Laura Jayne Martin rants about why she is tired of sharing an apartment with poet William Carlos Williams.
Why would anyone write a book anonymously? Maria Bustillos ponders anonymity at The New Yorker. “Anonymous is more than a pseudonym. It is a stark declaration of intent: a wall explicitly thrown up, not only between writer and reader, but between the writer’s work and his life.”