The New Yorker staff writer and bestselling author of The Orchid Thief talks with musician Ben Arthur about her music, inspiration, distraction, adaptation, and her new book about the Los Angeles Public Library fire in 1986.
From the Magazine
Writing about trauma is sometimes called “navel-gazing,” particularly for women writers. An essayist and memoirist confronts this stigma, and calls on writers to explore their personal traumas and truths.
A poet and novelist investigates the “bloody” work of rummaging, severing, and rooting for parts of real-life people in order to create stronger characters in fiction—and to find more empathy in oneself.
When a writer suffers a serious concussion as a result of a car accident, she fears she might never write again. What she discovers instead on the long journey to recovery is a whole new writing practice.
Developed in Sanskrit literature, rasa theory is an intense, visceral, and emotional response to viewing or reading a work of art. It can also help artists and writers effectively represent and harness emotions, creating suspense and surprise in their art.
The often playful process of writer-artist collaboration is explored through a close examination of the book Alphabetique: 26 Characteristic Fictions by poet Molly Peacock and visual artist Kara Kosaka.
A useful skill for one’s writing practice is the ability to write badly. A poet explains how allowing ourselves to write badly is not only generative, but can also break the habit of self-censorship and can lead to our best work.
Austria’s fifty-two-letter word of the year; fiction inspired by real works of art; Minnesota health clinic incorporates poetry classes into wellness programs; and other news.
NaNoWriMo advice; contemporary novelists on recreating the the 1980s; Murakami on embracing one’s inner darkness; and other news.
Witches as bodily translations of fear; Fanny Howe on religion and race; a tour of Marlon James’s Minneapolis loft; and other news.