At the New York Times, Kaitlyn Greenidge discusses her new novel, Libertie, and how she sought to tell stories from communities not commonly heard from in history books. “I’ve always been interested in the histories of things that are lesser known,” Greenidge says. “If you come from a marginalized community, one of the ways you are marginalized is people telling you that you don’t have any history, or that your history is somehow diminished, or it’s very flat, or it’s not somehow as rich as the dominant history.”
“’I put lipstick on a pig,’ he said. ‘I feel a deep sense of remorse that I contributed to presenting Trump in a way that brought him wider attention and made him more appealing than he is’ … If he were writing The Art of the Deal today, Schwartz said, it would be a very different book with a very different title. Asked what he would call it, he answered, ‘The Sociopath.'” Donald Trump’s ghostwriter from The Art of the Deal, Tony Schwartz, expresses some remorse and tells what it was like to write Trump.
“When you want to read a long book, for reasons of weight a paperback must do, and you’ll just have to suck it up re: its inevitably smaller print and wind-catchingly thinner pages.” Here’s a handy guide to reading while you walk from the good people over at The Awl.
Elaine Kaufman supported writers at her restaurant when she was alive, and the Table 4 Writers Foundation keeps her legacy going with its grant. The third annual writers’ grants contest will award a $5,000 grand prize and two $2,500 prizes for promising writers. Applications are due by November 15 and can be submitted here. For more on Kaufman, read our own Bill Morris’s tribute.
Can’t get enough of Orange is the New Black? Neither could The Missouri Review. Their new blog series, Literature on Lockdown, shares narratives from those who teach or write in prisons. This week’s post comes from Ace Boggess, a poet who spent five years in a West Virginia prison. “One thing about being a writer in prison is that you have not lost everything. You still have that driving need to speak whatever truth you know in whatever way you can. No one can take that away from you, not even the State.”
It was the height of the feminist revolution and one man was trying, unsuccessfully, to publish a book about a man amidst a midlife crisis. 25 years later, Esquire editor Gordon Lish read sections of An Armful of Warm Girl in a literary magazine and demanded that Knopf reconsider publishing it (they did). This week over at Bloom, Nicki Leone dives into the work of W.M. Spackman, the man often referred to as “Fitzgerald‘s literary heir.”