Posts Tagged ‘editors’
June 8, 2016 | by Caitlin Love
Inspired by our famous Writers at Work interviews, “My First Time” is a series of short videos about how writers got their start. Created by the filmmakers Tom Bean, Casey Brooks, and Luke Poling, each video is a portrait of the artist as a beginner—and a look at the creative process, in all its joy, abjection, delusion, and euphoria.
This installment features Helen DeWitt, who discusses her debut novel, The Last Samurai, published in 2000. After seven years of writing unfinished novels, DeWitt decided to quit her job as a legal secretary and devote herself to finishing one book. “I thought, I just I have to quit until my money runs out … I’m going just to sit down and do nothing but work on this book, and I’m going to finish it in a month. Then I will have a finished book, and, see, it doesn’t matter what happens then.” Read More »
April 28, 2016 | by Teffi
Nadezhda Lokhvitskaya, born in Saint Petersburg in 1872, used Teffi as her nom de plume. (“It sounds like something you’d call a dog,” she wrote, explaining that she wanted “a name that was incomprehensible, neither one thing nor the other … best of all would be the name of some fool.”) In prerevolutionary Russia, she was renowned for her satire. To celebrate two new editions of her work, here’s a 1929 piece in which she remembers her “first steps as an author.” —Dan Piepenbring
My first steps as an author were terrifying. I had never, in any case, intended to become a writer, even though everyone in our family had written poetry from childhood on. For some reason this activity seemed horribly shameful, and should any of us find a brother or sister with a pencil, a notebook, and an inspired expression, we would immediately shout out, “You’re writing! You’re writing!”
The guilty party would begin to make excuses and the accusers would hop around, jeering, “You’re writing! You’re writing!”
The only one of us above suspicion was our eldest brother, a creature suffused with sombre irony. But one day, when he was back at the lycée after the summer holidays, we found scraps of paper in his room covered in poetic exclamations, and one line repeated over and over again:
“Oh Mirra, Mirra, palest moon!”
Alas! He, too, was writing poetry. Read More »
October 21, 2014 | by Dan Piepenbring
- “There’s an endless appetite among film buffs for the contents of the cutting-room floor. We’re forever being offered outtakes and alternative endings and ‘director’s cuts’ of movies. But what do newspaper editors excise from raw copy destined for the printed page? What would a ‘writer’s cut’ look like?”
- Area Novelist Super Pissed He Keeps Getting Compared to Cormac McCarthy: “This is testament to the McCarthy hegemony, to how wholly he dominates an entire sector of American fiction, and to how he has usurped our understanding of a certain literary pedigree. Write a novel with a specific poetical register adequate to the task of addressing nature and redemption, one which includes the sanguinary madness of men, and McCarthy is the artist languidly at hand for every reader itching to make a connection.”
- “It was difficult sometimes to eat lunch with Robert because his makeup was so realistic. His brains were hanging out of his prosthetics.” An oral history of A Nightmare on Elm Street.
- Photographers have found themselves “in the age of citizen Instagrammers, in which phones carry an endless roll of virtual film, and there are so many photos that we think we’re entitled to have them for free.” What to do? Litigate!
- Our poetry editor, Robyn Creswell, on the novels of the Lebanese writer Rabih Alameddine: “The heroes of his fiction are all misfits of one sort or another. They rebel against what they take to be the tyrannical conventions of Lebanese society—its patriarchy, its sexual norms, its sectarianism. In most of his novels this revolt takes the form of flight to America … In America, Alameddine’s characters discover that the pleasures of individualism often turn out to be empty, and their host country’s foreign policy, particularly its support for Israel, is a constant irritant. So their emigration is only ever partial; the old world haunts all their attempts at reinvention.”
August 14, 2014 | by Dan Piepenbring
- Residents of Bay Ridge, Brooklyn, rise up, and reclaim Gilbert Sorrentino as your bard! “Sorrentino died of lung cancer in Brooklyn in 2006; he remains widely uncelebrated in his own neighborhood, his own borough, despite the fact that so many of his books are set there, and he lived so much of his life there. The Fort Hamilton High School Alumni Association doesn’t list him in its Hall of Fame. The libraries don’t stock his books, and neither does the local bookstore. I spent thirty years in Bay Ridge as a bookish neighborhood enthusiast without ever hearing his name, until a poet mentioned it to me in passing.”
- Where do typos come from? Our foolish brains, and their inveterate laziness. There’s no escaping it, really.
- Which is part of why we need editors—but even editors aren’t good enough. What the world needs, apparently, is robot editors: “Students almost universally resist going back over material they’ve written … [but they] are willing to revise their essays, even multiple times, when their work is being reviewed by a computer and not by a human teacher. They end up writing nearly three times as many words … Students who feel that handing in successive drafts to an instructor wielding a red pen is ‘corrective, even punitive’ do not seem to feel rebuked by similar feedback from a computer.”
- “It’s a common and easy enough distinction, this separation of books into those we read because we want to and those we read because we have to, and it serves as a useful marketing trope for publishers, especially when they are trying to get readers to take this book rather than that one to the beach. But it’s a flawed and pernicious division … There are pleasures to be had from books beyond being lightly entertained. There is the pleasure of being challenged; the pleasure of feeling one’s range and capacities expanding; the pleasure of entering into an unfamiliar world, and being led into empathy with a consciousness very different from one’s own … ”
- Exploring the annals of Dalkey Archive Press, which is now thirty years old.
January 21, 2014 | by Dan Piepenbring
- What’s it like to share a name with a Tom Clancy hero and teach at the Naval Academy? “I would be lying if I didn’t say that when I walk out Gate Three of the Academy from time to time—which is the gate that Jack Ryan walks out of during Patriot Games and gets shot—that there’s a sense of surrealness to it.”
- Speaking of which, masculinity in art is undergoing a transformation. We’re “questioning yesterday’s tough guys.” Condolences, tough guys!
- In honor of MLK Day, The New Yorker has lifted the pay wall on Renata Adler’s 1965 classic “Letter from Selma.”
- What New York’s editors want in a good book: “Are you writing a dinosaur erotica novel, or the book that all dinosaur erotica novels will be measured by?”
- The poet Mamoun Eltlib on writing and reading in Sudan: “You don’t feel it’s a living language; you just feel it’s like a dead language, a bloody language.”
- Now accepting applications for admission: the Yale Writers’ Conference, a summer program with a formidable faculty including Nathaniel Rich, Je Banach, Teddy Wayne, Trey Ellis, Marian Thurm, Colum McCann, Rick Moody, Chuck Klosterman, and others.
July 16, 2010 | by The Paris Review
What we've been reading this week.