Posts Tagged: The Atlantic
For a growing number of essayists, memoirists, and other wielders of the unwieldy “I,” confessional has become an unwelcome label—an implicit accusation of excessive self-absorption, of writing not just about oneself but for oneself.
Writing fiction, to me, feels a bit like the moment in those Roadrunner cartoons where he runs off the cliff and the bridge builds itself underneath his feet. You see the planks of wood flying up, supporting him, but if he stops—that’s it, he plummets.
(n); gaining affection by caressing; the act of enticing by soft words; from the Latin suppalpari (“to caress a little”)
Simply put, written English is great for puns but terrible for learning to read or write. It’s like making children from around the world complete an obstacle course to fully participate in society but requiring the English-speaking participants to wear blindfolds.
For the Atlantic, Jennie Rothenberg Gritz interviews Nick Hornby about his new book Funny Girl and his experience adapting Cheryl Strayed’s Wild for the big screen. While Hornby says he would not consider writing a screenplay based on his own books, adapting other authors’ work has helped him to mix things up and “keep things fresh”:
A lot of what Funny Girl is about for me is the experience feeling very happy doing a certain thing with a certain group of people.
In the fashion world, understanding the zeitgeist is a way of orienting oneself within a temporal framework. And it’s in this way that style is woven so memorably through Didion’s writing. What someone is wearing betrays not just the aesthetic of a certain moment but the emotional weight that Didion assigns to it.
How many different words are there for “intoxicated”? Quite a lot, as it turns out—writers have been inventing new words to describe inebriation for just about as long as they’ve been drinking. A new book exploring the history of synonyms of wasted reveals the origins of some five hundred years of poggled language....more
…”difficulty” seems to hold out the possibility of more objective standards—to assure us that these books, over here, by Joyce and Faulkner, are 1000 pounds of pure prose, while these books over there, by Stephenie Meyer or Tom Clancy, are sniveling 90-pound weaklings of meretriciousness.
For the Atlantic, Karen Swallow Prior puts a new spin on the origin story of the “hipster,” arguing that T.S. Eliot’s J. Alfred Prufrock was actually one of the first:
Prufrock of the cuffed white flannel trousers cultivates a detached earnestness that isn’t unlike the modern-day adult who is as eager to reject a hollow consumerism as he is to signify that rejection through the material signs of thrift-store chic: the trucker cap, fuzzy sweater, the thrift-store trousers, or horn-rimmed eyewear.
For the Atlantic, John Paul Rollert attends an Objectivist conference in Las Vegas to explore the legacy of Ayn Rand’s work. While for many Objectivists the philosophy “begins, and ends, with the word of Ayn Rand,” others question the “amenability” of Rand’s writing in an attempt to “further philosophical development.”...more
We all know that keeping a personal journal is pretty good both to for our writing and to help clarify the mind and spirit, but that it also takes a effort to keep a journal regularly. To help with that, Albert Lee designed the Emojiary app: a diary one can fill with just… emoji!...more
But if a novel starts well and descends into trash, then it seems to me that it’s worth continuing to see if it gets better, or to see where the writer went wrong. And if it was bad from page one, then the whole “should I drop it?” issue is secondary.
2014 may not have been an especially good year for female writers in general, but it apparently saw a rise in prizes and accolades for women writing science fiction. Unfortunately, this is but a small step forward toward gender equality within the genre....more
Nothing much more needs to be said: At the Atlantic, “the author of White Noise reviews Taylor Swift’s white noise.”...more
At the Atlantic, David Mitchell discusses his new novel, the poem he keeps above his desk, and how to write. He explains that his work involves writing about distance and time, and that requires figuring out how one culture differs from another:
Much of my work involves writing about scenes set far in the future or deep in the past.
After publishing a collection of short stories earlier this year, B.J. Novak has just released his first book for children, Book With No Pictures. The title is pretty self-explanatory—as an interview with Novak in the Atlantic puts it, instead of traditional pictures,
…words form statements like, “My only friend in the whole wide world is a hippo named Boo-Boo Butt.” The joke is that the grown-up has to say every outrageous thing on the page, which makes the kid feel like an evil genius.
(n.); an unwell feeling, particularly in the head; a moody depression; c. 1918, from Nevil Shute’s The Rose and the Rainbow
The archetype of the mad genius dates back to at least classical times, when Aristotle noted, “Those who have been eminent in philosophy, politics, poetry, and the arts have all had tendencies toward melancholia.”
—“Secrets of the Creative Brain,” Nancy C.
Fourteen years after it’s publication, Stephen King’s On Writing has become a necessary read for anyone interested in prose-burnishing. Follow this string of red letters for a new interview with King on his book with The Atlantic’s Jessica Lahey.
Jessica Lahey: In On Writing, you identified some phrases that should be excised from every writer’s toolbox: “At this point in time” and “at the end of the day.” Any new irksome phrases you’d be willing to share?
The publishing world has been rocked by numerous high-profile scandals in recent years. James Frey’s memoir turned out to be more of a novel, for instance. Yet despite these mistakes, book publishers are still allowing facts to go unchecked leaving open a major source of potential misinformation, reports The Atlantic:
And reliance on books creates a weak link in the chain of media accuracy, says Scott Rosenberg, founder of the now defunct MediaBugs.org.
Following her essay about the influence of Adam Smith’s economic theories in Jane Austen’s novels, writing at The Atlantic, Shannon Chamberlain gets back to the topic, this time debating what influence fiction had, and in particular the emerging genre of the novel, in Smith’s production:
“Perhaps this sense of turmoil, of progress that could still be undone, explains Smith’s apparent ambiguity about novels.
Paul Moran began collecting John Updike’s trash in 2006, three years before the writer’s death. He found discarded photos, story drafts, and honorary degrees. The acquisition of curbside trash seems perfectly legal in Massachusetts, even if Updike and his wife took measures to dissuade Moran’s efforts....more
Memoirist (and former editor-at-large of McSweeney’s) Sean Wilsey talks to The Atlantic about his essay collection, More Curious, and why humor writing resonates:
I think there’s something dishonest about writing that isn’t funny. I can’t engage with a piece of work without an element of humor to it.
Two art professors at Eastern Michigan University are exploring what a book is and what it will be in the future in their Open Book Project, which has thus far involved an exhibition, a 248-page book, and workshops where artists imagine the forms books of the future could take....more
While readers today might think of Jane Austen novels as the equivalent of 18th century bodice rippers, money, wealth, and economics played a major role both in their creation and in their narrative. Austen wrote as much for financial benefit as for art....more
For the Atlantic, Shawn Miller argues that what we decide to erase, through our technology, is often more enlightening that what is kept. Drawing an analogy between Middle Age palimpsests and a 19th-century Italian priest, Angelo Mai, who dedicated his life to finding what past monks had scraped off parchment and written over, Miller wonders what deleted information of ours historians will be interested in examining in the future:
So, the questions we should ask ourselves today: What information are we devaluing now?