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Emily Dickinson online archive fuels debate; Ian Crouch discusses the proliferation of neologisms; Arizona approves Mexican-American studies books; ten scary novels for Halloween; and other news.
Tolstoy’s great-great-granddaughter crowdsources editors; author Melissa Febos on living in and leaving New York City; writer Charles Stross lambasts Microsoft Word; and other news.
Bestselling author Hugh Howey explains the spiritual benefits of self-publishing; poet Gregory Orr reveals the personal transformation behind his literary evolution; National Book Awards' distinguished ‘5 Under 35’ list features all women; and other news.
Author Jhumpa Lahiri dismisses the idea of immigrant fiction; Shaj Mathem visits Roberto Bolaño’s unpublished work; Sarah Marty-Schlipf teaches creative writing to women in jail; and other news.
In this issue we offer a look at My Ideal Bookshelf, a collaboration between artist Jane Mount and editor Thessaly La Force, to be released by Little, Brown in November.
Melville House wonders when publishers will speak out about Amazon; New York City's Algonquin Hotel announced that when it reopens this spring after a renovation, the famed Oak Room will be gone; E. B. White answers a charge levied by the ASPCA; and more
Nobel prize-winning poet Wislawa Szymborska, as well as Surrealist artist and poet Dorothea Tanning, passed away yesterday in their respective countries; novelist Paul Auster has engaged in a war of words with Tayyip Erdogan, the prime minister of Turkey; Open Letters Monthly examines the hidden life of Virginia Woolf's institutionalized half-sister, Laura Makepeace Stephen; and other news.
The origin and form of Mayhill Fowler’s Huffington Post report on Barack Obama’s use of the word “bitter” suggest her work is neither blogging nor journalism, but creative nonfiction. That its effect was out of proportion with its intention begs the question: What can the creative nonfiction writer expect in the Information Age?
Whether it’s a thousand-page novel, a single-paragraph story, or a footnoted essay, the elusive author always offers a complicated—and sometimes maddening—reading experience. But is there more to David Foster Wallace than words on a page?
