Posts Tagged: The Millions

Robinson Renewed

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For The Millions, Alex Engebretson argues that despite the twenty-four year gap between the publication of Marilynne Robinson’s first and second novel, the author’s recurring themes and imagery present a “singular vision”:

Instead of an author who recreated herself late in her career, Robinson is one who has returned and renewed imaginative possibilities already latent within her first book.

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This Week in Short Fiction

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Story|Houston published a beautiful story this week in their Fall 2014 issue, all of which centers around the theme of family, functional or otherwise. “Termites” tells the story of Tamara, aka Tam or Tam-Tam, a youngish woman living in and trying to take care of/sell her family’s childhood home on Staten Island.

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Being Michael Crichton

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I didn’t know it while I was flaunting his books throughout my elementary school, but forty years earlier Crichton had lived out my dreams of childhood achievement.

Over at The Millions, Jared Young confesses his early age obsession with Michael Crichton, which inspired him to attempt writing a novel at 14 about an island, a group of men, and of course, dinosaurs!

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Back to the Present

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Where do we come from? What are we? Where are we going? By the time we’ve figured it out, we’ve already gotten there. Examining a trend toward futuristic fiction, Bill Morris looks at the near future as a literary setting that both illuminates and supersedes the present:

…technology is changing so fast that there’s no longer a present; the future is already here, relentlessly unspooling into the past.

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This Week in Short Fiction

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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?

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This Week in Short Fiction

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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.

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Word of the Day: Flosculation

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(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.

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This Week in Short Fiction

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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.

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Creative Writing’s Business

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Rumpus contributor Nick Ripatrazone writes about teaching students the business side of creative writing at The Millions, addressing some crucial questions:

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?

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Literature at the Ritz-Carlton

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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.

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