How long he stood he did not know, but there was a foolish and yet delicious sense of knowing himself as an animal come from the forest, drawn by the fire. He was a thing of brush and liquid eye, of fur and muzzle and hoof, he was a thing of horn and blood that would smell like autumn if you bled it out on the ground. He stood a long long time, listening to the warm crackle of the …
. . . and what writers rarely admit about rejection & revision I have a lot of friends who are fiction writers, and they all told me that writing a memoir is different—and hard.—Darin Strauss, in The Washington Post Darin Strauss became a memoirist with Half a Life, reviewed here, after publishing three acclaimed novels. I came across his admission above just after a scholar/essayist/travel writer who was visiting our campus told me, when she heard I was writing a …
Just two (famous) novelists enjoyin’ their coffee & nonfiction Andre Dubus III and Richard Russo discuss their memoirs at The Daily Beast: “How strange to write a memoir to find out what happens.”—Richard Russo, author of the forthcoming Elsewhere: A Memoir “I felt I was stepping into deep mysteries when supposedly I knew the story but didn’t.”—Andre Dubus III, author of Townie: A Memoir
I can only speak for myself, but there’s something about writing at night that feels . . . sneaky. There’s an outlaw quality to it, combined, oddly enough, with a sense of being safe. It has an anaerobic, subterranean feel; it’s as if I’m working beneath the soil, toiling in secret, trying to cultivate something hidden and occult.—Alethea Black, “Essay to be Read at 3 a.m” I Knew You’d Be Lovely by Alethea Black. Broadway Books, 238 pp. I read …
Guest Review By Lanie Tankard The Master Blaster by P.F. Kluge. Overlook Press/Peter Mayer, 304 pp. When fiction and nonfiction meet up, consideration of the resulting technique can be enlightening for anyone working in words. Journalist P.F. Kluge, writer in residence at Kenyon College, has combined in an intriguing way these two seemingly polar opposites in his new novel about an island. Island. That word usually conjures up the image of a palm-fronded speck surrounded by water—tranquil and carefree. In …
I was reading the late novelist’s short story “Redemption,” based on the accidental death of his younger brother in a horrifying farming accident, and found its sentences beautifully crafted. John Gardner, at eleven, was driving a tractor when his brother fell under its towed cultipacker, a pair of giant rolling pins for mashing the clods in harrowed soil that weighed two tons. In the story, grief almost destroys the father, like Gardner’s father a dairyman, orator, and lay preacher; the …
A guest post by Thomas Larson In a recent New York Times essay, “Your Brain on Fiction,” Annie Murphy Paul argues that “Fiction — with its redolent details, imaginative metaphors and attentive descriptions of people and their actions — offers an especially rich replica” to “construct a map of other people’s intentions.” Research suggests that “individuals who frequently read fiction seem to be better able to understand other people, empathize with them and see the world from their perspective.” Narratives make us …