Posts Tagged: Electric Literature
Sometimes, you get lost. In art, in love, in fantasies-turned-dreams, in your five billion part-time jobs. Sophia Foster-Dimino combines daily minutia with drifting existential questions in her comic, “My Girl.”
Read “My Girl” over at Electric Literature, and feel it right in your secretly lonely guts (in a good, comforting way)....more
For Electric Literature, Tobias Carroll chats with Matthew Neill Null about the role of landscapes in his story collection Allegheny Front, and how Null crafted the “ideal juxtaposition of humanity and the natural world”:
Many of the stories pivot on fraught interactions between humans and animals.
We’ve heard the arguments (and read American Psycho) about how success in the business world is often linked with psychopathic traits, but surely the same couldn’t be said about success in creative fields like writing? New research suggests that strong track records of writing success may be correlated with certain psychopathic traits....more
For Electric Literature, Dan Sheehan interviews novelist Mark Haddon about his recent short story collection The Pier Falls. The two also discuss why Haddon writes about family and domestic spaces:
When I began writing fiction I wanted to write big novels about big subjects and learned, painfully and slowly, that I had other, smaller subjects where I was at home, subjects that suited me.
We’re used to Amazon producing recommendations alongside books we buy, but are we prepared for a world where computerized data also picks what gets published? Inkitt, an electronic publishing platform, has announced that they will be utilizing algorithms to pick novels to publish in the interest of “fairness and objectivity” that can’t be found in this world of “literary gatekeepers.”...more
For Electric Literature, Melody Nixon interviews Ruth Ozeki about what it means to write “embodied prose”:
I find that whether I’m writing fiction or memoirish essay, whatever you want to call it, the key to any kind of literary writing is being able to tap the body’s memory: to enter the writing through the senses, and through the body.
With its trope of the hard-boiled, male detective, noir literature has historically had an inclusion problem. At Electric Literature, Nicholas Seeley discusses its burgeoning revival as protest literature against injustice:
Today it has a second chance—assuming it continues to draw in and cultivate new and challenging voices.
For Electric Literature, Selin Gökcesu shares her experience rereading Jane Eyre. Though she had loved the novel in childhood, Gökcesu’s MFA experience and her “selective” adult perspective “eroded” her interest in the novel:
At thirty-eight, what I perceived as Brontë’s moral standpoint rubbed me the wrong way.
At Electric Literature, Mensah Demary argues that there should be greater appreciation of hip-hop as a powerful storytelling medium, positing Nas as a master of literary narrative:
If presented with a choice, I’d rather discuss classic hip-hop albums than short story collections: the former evokes warmth, my need to consecrate my life to a certain fidelity and pure aural bliss channeled into nighttime sessions in the bedroom, lights off, completely enveloped by sound, while the latter invokes the image of a bottomless pit.
I know of no level of success where writers stop getting rejected (and stop at least occasionally feeling bummed about it). People generally make more noise about publications than rejections, the same way people mostly share pictures of happy moments on Facebook, making their sad moments invisible.
Digital media companies are suddenly worried about declining ad revenue, and the venture capitalists funding these companies have also turned off the faucet of cash as they realize that success stories like BuzzFeed and Mashable are not the unicorns everyone thought they were....more
For Electric Literature, Anya Groner discusses the role of space tourism in modern science fiction, and explores how the focus of space exploration narratives have shifted from the technological aspects of interplanetary life to the anxieties and psychological challenges faced by space travelers:
Practical questions give way to unsettling existentialism and thrilling narrative possibilities.
Electric Literature’s Recommended Reading has put out its 200th issue, and to celebrate, they’re watching television. Or, thinking about watching television by revisiting the 200th episodes of classic sitcoms: J. Robert Lennon on The Cosby Show, Rob McCleary on The Love Boat, Morgan Parker on The Jeffersons, and Téa Obreht on Frasier....more
At Electric Literature, Lincoln Michel wonders why readers care so much about Elena Ferrante’s “real” identity, particularly when the anonymous author has made it clear that she believes books “have no need of their authors” after they’ve been penned. Michel writes:
Still, the greater question is why anyone cares?
At Electric Literature, Je Banach explores how literary discourse can “break down barriers” in a time of political extremism:
Literary discourse, the active process of carefully considering the words and ideas of others and then speaking thoughtfully and critically about them—let us not confuse the words “critical” and “negative” here—provides a model of thoughtful, considerate, and intelligent action and dialogue that the world needs.
I find the more furtively I move between genres, the more I surprise myself as a writer. Moving between genres, you carry curious things over and also carry them away. I like the gray areas between genres—prose that reads like poetry that moves like a thriller that falls over a reader like poetry—to keep mixing it up, and hopefully in the process move the genre of fiction forward in some compelling new way.
So I re-read the opening, then the end once more. I looked at the cover. I turned it over to contemplate what’s already been said about it. I set the book down on the bench next to me and smiled. Then I began the review in the present tense.