The Loneliest Art
Does screenwriting qualify as “real” writing? Over at the New Yorker, Richard Brody wonders what F. Scott Fitzgerald’s failed shot at Hollywood reveals about film as an industry and as…
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Interrogating Adrian
Over at Granta, Francisco Vilhena interviews Adrian Tomine, the artist and illustrator responsible for bringing us Shortcomings, Summer Blonde, and any number of illustrations for the New Yorker. Tomine riffs…
A Book Voyage with No Guide
As the number of Americans who read books has declined, those who do read have begun wearing t-shirts, carrying tote bags, and sticking magnets on their fridges declaring their love…
This Week in Short Fiction
In this, the first week of June, a band of storytellers joined hands and exhaled sweet stories that rolled out like a giant park full of empty hammocks waiting to…
Saul Bellows Revived
Saul Bellow’s 1978 story “A Silver Dish“ has been has been re-released over at the New Yorker. The piece follows Woody Seblst, a successful businessman, before abandoning its conventional plot structure…
Resurrecting a Monster
Forty-one years after his death, JRR Tolkien’s translation of Beowulf has been published by his son Christopher. Tolkien translated Beowulf early in his career, yet never published it. In the…
Some Inheritance
Ian Parker profiles Edward St. Aubyn in this week’s issue of the New Yorker, delving into the “family disaster” that shaped much of the writer’s fiction: … [he] recalled some…
George Carlin versus Vladimir Putin
The New Yorker pulled this from Pushkin’s “The Wagon of Life;” it contains swearing: At dawn we jump inside the wagon. Happy to break our necks like glass, We scorn…
Traveling with Zweig
Wes Anderson’s latest film The Grand Budapest Hotel acquainted us with the works of Austrian writer Stefan Zweig, to whom Anderson dedicates the film. The New Yorker has an essay examining the…
Where It All Began
After Gabriel Garcia Marquez’s passing last Thursday, the New Yorker opened its archives to those compelled to get their hands on something from the “voice of Latin America.” One of the more…
Twelve Years, One Book Later
Another testament to the tribulations of novel-making: over at the New Yorker, Akhil Sharma discusses the particular technical problems he faced while writing Family Life as well as how, exactly, he…
The Works Behind the Work
Over at the New Yorker, Meg Wolitzer writes about the cultural influences that helped inform her novel The Interestings. They include Archie comics, folk music, and Michael Apted’s “Up” films”: A good…