A Secret Literary Fellowship, Dorothea Lasky on Dancers and Demons, and More

by
Staff
6.17.19

Every day Poets & Writers Magazine scans the headlines—publishing reports, literary dispatches, academic announcements, and more—for all the news that creative writers need to know. Here are today’s stories.

“In a world that is seemingly now devoid of a true ethical sense, there are ethical implications to doing creative work on the scale of the everyday.” Poet Dorothea Lasky offers a take on creativity inspired by the dancers and demons of the new Suspiria film. (Creative Independent).

At the New Yorker, Daniel A. Gross shares the strange story of a writing fellowship funded by the chairman of Barnes & Noble and run on “deep pockets” and secrecy.

The Paris Review bids farewell to Susannah Hunnewell, the journal’s publisher. Hunnewell, who started as an editorial assistant at the review in 1989, died on Saturday aged fifty-two.

“To create someone in order to observe them is a really big game of imagination…” Taffy Brodesser-Akner talks to the Guardian about building characters, the messiness of the truth, and her debut novel, Fleishman Is in Trouble.

At the Atlantic, Erik Ofgang describes collaborating with his father to write their nonfiction book, The Good Vices. “We argued often about rather irrelevant aspects of the writing process, such as which cloud-based word processor to use, whether in-person or over-the-phone brainstorming sessions were more effective to plan chapters, and even, when it came time to record the audiobook, the proper pronunciation of our last name.”

“This is no congratulations. This is a punishment.” Strand Bookstore owner Nancy Bass Wyden on why designating the store a New York City landmark is a bad idea. (NPR)

From The Old Drift by Namwali Serpell to Page Six: best-selling author Susan Orlean talks to the Los Angeles Times about her current reading and her guilty pleasures.

And in Brazil, a new color rendering of a photograph of beloved nineteenth-century author Joaquim Maria Machado de Assis has Brazilians reexamining the whitewashing of the author’s legacy. (New York Times)