At Guernica, in conversation with Sara Petersen, essayist Sarah Kasbeer shares her thoughts on whether writing plays a role in processing trauma: “I do think the work of writing about trauma helps you separate it from yourself, and allows you to look at the story more objectively. Writing is a tool for thinking, so to say that it has no role in how we process traumatic events or our lives in general feels dishonest to me. At the same time, you need therapy, or another person who supports you, in order to heal from trauma. I don’t think writing is ‘healing’ in and of itself; in fact, sometimes it’s retraumatizing.” Kasbeer’s debut essay collection, A Woman, A Plan, an Outline of a Man, is featured on our October list of most anticipated books.
“The myth of the full-time writer is a perniciously sticky one—and it doesn’t help that once in a blue moon a J.K. Rowling does come along, thereby entrenching the cultural delusion that being a full-time writer is a thing that could realistically happen. But the truth is that being a full-time writer is basically just the literary equivalent of a career in the NBA.” Liz Entman Harper talks with seven writers about the struggle to balance writing with a day job, and those interviews pair well with our own Emily St. John Mandel‘s look at “Working the Double Shift.”
Out this week: Swing Time by Zadie Smith; Born a Crime by Trevor Noah; The China Sketchbook by I. Allen Sealy; Writing to Save a Life by John Edgar Wideman; The Abridged History of Rainfall by Jay Hopler; and Forever Words by the late Johnny Cash. For more on these and other new titles, go read our latest fiction and nonfiction book previews.
In memory of Mark Strand, who passed away on Saturday, the Paris Review Daily published a manuscript page from “A Piece of the Storm,” a poem that appeared in Strand’s collection A Blizzard of One. They also included links to several poems of his they published, as well as his Art of Poetry interview.