Remember Elizabeth Strout’s 2008 Pulitzer-prize winning novel in stories Olive Kitteridge? What if Olive could come to life in a film adaptation? Man. In a perfect world, probably Frances McDormand would play Olive, right? In fact, maybe we could just give McDormand creative control of the whole project, yeah?...more
Posts Tagged: The Millions
At The Millions, Brooke Hauser compares Lena Dunham’s Not That Kind of Girl with Helen Gurley Brown’s seminal Sex and the Single Girl and finds, distressingly, that not much has changed when it comes to the critical reception of women writing about sex:
A lot has happened since 1962 when Sex and the Single Girl came out.
Writing is its own form of music. And though I had read my novel aloud to myself many times and had read passages of it aloud to dozens of audiences on my book tour, hearing another person — a trained actor — reading my writing was a curious kick, a revelation.
A story is different from an event . . . The event is what happens. A story is the mythology that rises from what happens. Often this mythology is where the real story, the truest story, lives.
On Tuesday, Aqueous Books released From Here, Jen Michalski’s second short story collection and fourth book. The founding editor of the literary quarterly jmww and a long-time Baltimore resident, Michalski’s fiction has found homes in more than 80 publications.
Looking at the early reviews and the stories from the new collection that have appeared online, one gets a sense of Michalski’s territory: neighborhoods with worn and tattered fences, where yards and lives overlap and spill onto one another, where rules are broken and categories are hard to define....more
As the author of a forthcoming nonfiction book, a biography, I have become aware of how male-dominated the field of biography is. But why all of nonfiction?
That is the hard question Anne Boyd Rioux tries to answer with her essay on gender inequality in nonfiction literary genre over at The Millions....more
Using Italian author Alessandro Baricco’s recently translated novellas, Mr. Gwyn and Three Times at Dawn, as a starting point, Matt Seidel goes deep over at The Millions into the subject of portraiture in literature....more
The approach coupled with the scope (covering, as it does, a huge swath of time) results in maybe the most complete history of the novel in English ever produced.
(n); an embellishment or ornament in speech; to speak in flowery language; c. 1651
Trouble. Trouble is a great dustpan of a word. Its roots are found in Latin in the verb turbidare, to make turbid … Trouble branched off to mean that quality or state of being in distress or annoyance, of having malfunctioned; it’s a condition of debility, or ill health, a civil disorder, an inconvenience, a pregnancy out of wedlock.
In a culture where everything is assigned a market value, imagination isn’t in high demand. Over at The Millions, Chloe Benjamin wonders why some of imagination’s most vivid manifestations—dreams and fiction—fall so low on our priority list:
But in the absence of conclusive evidence, sleep’s utility—like that of fiction—is still in doubt.
But what if your entire book is based on another one? What if a certain piece of information (in the cases of these books, a writer or a specific novel) is foundational to your text? How, then, should you proceed? Should you explain the referenced work so that those unfamiliar with it can enjoy your book?
How much time should be spent on a single work of art? Or inversely, how will the amount of time spent on a work ultimately shape what that work will become and what it will mean to the creator? What it will mean to us?
It seems impossible to say that someone was quietly assembling a story collection over a decade and a half when they’ve been publishing each of the stories one by one over at a little place called The New Yorker. And yet, that appears to be exactly what Donald Antrim has done....more
Should a writer submit to a literary magazine that only “pays” in contributor copies? What does it mean that we, in the literary community, have accepted lack of monetary payment as commonplace?
At The Millions, Tracy O’Neill deconstructs the Ritz-Carlton’s new “Six Word Wows” ad campaign. The hotel chain calls for guests to describe their stay in six words or less, using the hashtag #RCMemories, and claims to be ““Paying Homage to a Classic Ernest Hemingway Line.” O’Neill frames her essay with Thomas Frank’s assertion that, since the mid-90s, corporations have targeted consumers by playing up their nonconformity, creating the “Culture Trust: a corporate America that deploys the sensibilities of counterculture for profit.” However, O’Neill goes a step further, wondering if the campaign works, perhaps, because it gives patrons “an authorial role” and allows them to describe what they see as their extraordinary vacations....more
(n.); cunning in words; skill in adorning speech; the arbitrary or capricious coinage of words; from late Latin and Greek, log (“speech, word”) and daidalos (“skillful, ingeniously formed)
Every society we’ve ever known has had poetry, and should the day come that poetry suddenly disappears in the morning, someone, somewhere, will reinvent it by evening.
Since I arrived, two years ago, I’ve grown more interested in works about American expats, especially those in which the characters are not quite comfortable in their settings. I wanted to see what this literature said about the ways in which expat life in Europe evolved over the course of American history.
A lot of poems are sad, but over at The Millions, Nick Ripatrazone thinks he’s found the saddest: “Spring and Fall” by Gerard Manley Hopkins. Ripatrazone explores Hopkins’s poem, and while doing so, gives his thoughts on what good poetry can do:
I think the best poetry is a form of interrogation of self.
Although Americans’ love for poetry has yet to reach the wild heights of Abu Dhabi’s hit reality show Million’s Poet where 70 million global viewers watched dueling versifiers vie for a $1.3 million cash prize, Americans are actively involved in reading it—particularly outside the traditional literary arenas of bookstores and libraries.