Posts Tagged: Electric Literature
I wonder about this in terms of genre. Just as I don’t want to identify as non-binary, regardless of the potential room for accuracy, I don’t want to identify as a “writer of neither genres.” But how much does want matter when perception is what labels us in the mainstream?
In the latest installment of “The Blunt Instrument” over at Electric Literature, Elisa Gabbert tackles the delicate question of bias in literary journals. Her answer? Take thoughtful reflections and make careful adjustments....more
What interested me so much about that job was how we, the help—the nannies and the housekeepers—were so quick to dismiss our boss’ pain.
As part of the Hemingway Days festival on Key West each year, the Hemingway Look-Alike Society hosts the Hemingway Look-Alike contest. This year, and for the first time ever, someone with the last name Hemingway took home the honor and the giant medal that goes with it:
Dave Hemingway of Macon, North Carolina and who is of no relation to the author, finally lifted the triumphant bust of “Papa” Hemingway after seven previous appearances in the contest.
At Electric Literature, an anonymous writer shares her personal experience with a creative writing classmate who plagiarized other poets. The writer poses the question of when writing crosses the boundary between respectful mimicry and plagiarism:
When have I changed [a poem] enough that the poem is now in my possession, my creative and intellectual property?
Desire is the center of everything. We want because we are lonely, regretful, hopeful. We want because we don’t feel at home in our bodies or our lives. Want is this pivot point between whatever happened before that we’re trying to move away from or closer to and the question of whether we’ll get there.
At Electric Literature, Manuel Betancourt argues that there is value to the “cheap sentimentality” in Jonathan Safran Foer’s Extremely Loud and Incredibly Close and its film adaptation:
What cheap sentimentality can do is to short-circuit our connection to the depths of our emotions, precisely by making us feel that they are closer to the surface than we’re perhaps comfortable with.
In a powerful essay at Electric Literature, Nicole Dennis-Benn writes on innocence as a privilege that is not afforded to black children:
Truth is, there is nothing parents can do. There is nothing black parents can do to protect their children and their children’s innocence.
Beyond the obvious fact of when it was written or published, what does it mean for literature to be contemporary? Is a work’s relevance determined by market trends and cultural currents? In her monthly advice column for Electric Literature, Elisa Gabbert allays a writer’s temporally induced anxieties:
Magical realism “has been done,” yes, but so has everything else.
At Electric Literature, Bronwyn Averett interviews Julia Franks about her debut novel, Over the Plain Houses. The novel is set in a small town Appalachian Village, and explores “the government’s role in the lives of individuals, the responsibility of humans toward the environment, and the place of women within their communities.” On the latter topic, Franks says:
When women don’t behave the way we want, we demonize them.
This week at Recommended Reading, PEN America offers an excerpt from Brazilian author Noemi Jaffe’s novel Írisz: as orquídeas, which is remarkable for many reasons, one of them being that this is so far the only opportunity to read part of the Portuguese-language novel in English translation....more
Released this May, director Ben Wheatley’s adaptation of J.G. Ballard’s 1975 sci-fi novel High-Rise converts the dystopian work into a tableau of striking visuals made all the more seductive by the presence of elegant Internet boyfriend du jour Tom Hiddleston. At Electric Literature, Michael Betancourt analyzes the contrasting versions of masculinity presented in the book and the film:
If the appeal of the high-rise in Ballard’s novel lay in the fact that it “was an environment built not for man, but for man’s absence,” Wheatley’s adaptation dismantles the sexist humanist language at work in the author’s rhetoric.
With Father’s Day just around the corner, we’re tasked with remembering all the good things about our fathers, which can be difficult. What might help? Remembering just how bad other fathers can be. Electric Literature has a list of terrible fathers in literature that might help you appreciate your own more....more
At Electric Literature, Nick Politan reports on a new study that suggests that reading in childhood has a link to financial success in adulthood. Politan, however, is critical of the study, which he argues reduces books to their “capitalist value”:
Can “books” not be something(s) — at least for a reader — positively stripped of their economic jackets?
Over at Publishing Perspectives, Andy Hunter, Publisher & COO of Catapult, Publisher of Literary Hub, and Co-Founding Chairman of Electric Literature, explains the different approaches but shared mission of his three ventures:
There’s a common mission between them: to bring attention to, and advocate for, literary writing.
When the mainstream doesn’t carve out space for their work, writers must take the situation to their own hands, creating their own platforms, even their own communities of dedicated readers. Over at Electric Literature, Adrian L. Jawort discusses the process of compiling two anthologies of contemporary Native American and Indigenous writing:
The anthologies are about how we view the world as we know it and share it to other indigenous peoples through the lens of our own creative control; not what perhaps some so-called Big Five New York publisher or outside editor assumes the Native experience should read like because maybe they’ve previously read Louise Erdrich, other Alexie works, or an aforementioned Native American Renaissance-era book from decades ago and deduced that Native American literature representation had already been fulfilled.
Who hasn’t felt that awkward moment between laughing and crying when the question, “do writers make money?” pops up? Unlike movie-makers and musicians, exact figures for authors’ earnings have always been notoriously difficult to retrieve. However, with the advent of Amazon’s publishing arm, interesting figures determining just how much authors can make from self-publishing versus traditional publishing arise....more
Electric Literature asked four writers to sit down and discuss Lian Hearn’s epic series The Tale of Shikanoko, a work of “historical fantasy” that “defies all easy description or easy understanding.” Here’s what author Kelly Luce had to say about the work:
The world of the Shikanoko books is so richly imagined.
At Electric Literature, Amber Sparks writes about the short story as the critically darling but commercially nonviable art form it is—and how we need to stop telling short story writers to write novels....more
For Electric Literature, Tabitha Blankenbiller offers a critique of the recent New York Times article about “Man Book Clubs,” and analyzes how gendered book covers influence readers’ choices and experience:
We can debate the levels of hubris and/or drunkenness in the NYT editorial room all we want, but what we have is an article claiming real estate and resources in The New York Times’ Books section.
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.