Posts Tagged ‘Lena Dunham’
May 25, 2016 | by Tony Tulathimutte
Who gets to name an author’s book?
When I was readying my first novel for publication, it struck me that writers have far more control over what’s in their books than what’s on them—the cover art, blurbs, jacket copy, but especially the title, where the author’s concerns overlap with marketing ones. Deciding on a name for your life’s work is hard enough; the prospect of changing it at the eleventh hour is like naming your newborn, then hearing the obstetrician say, But wouldn’t Sandra look amazing on the certificate? It took a nine-month war of attrition to secure the original title of my book, Private Citizens.
The history of writers fighting for their book titles is extensive and bloody; so powerful is the publisher’s veto that not even Toni Morrison, fresh off her Nobel win, got to keep her preferred title for Paradise, which was War. (For her most recent book, God Help the Child, she favored The Wrath of Children.) Who knows why George Orwell’s editor thought Nineteen Eighty-Four was more commercially viable than The Last Man in Europe, or why the industry’s gerund fetish turned Helen Simpson’s Hey Yeah Right Get a Life into the insipid Getting a Life? Read More »
November 9, 2015 | by Lena Dunham
Mary Karr’s The Liars’ Club turns twenty.
The first time I met Mary Karr I was, quite frankly, stunned. She was not what I had expected, not that I knew what to expect. I had read all her books, was familiar with the basics of her biography—including any gossip I could find, which is scant in the literary world, even when it comes to best-selling and notoriously dynamic authors—and had even seen her author photo, so I am not sure what came as such a shock to me except for something I might nebulously refer to as her “essence.”
I was standing in the middle of a party, lost, anxious, and sweaty in a slew of people who would all qualify as name-drops among certain bookish weirdos, when I received a firm tap on the shoulder. I spun around to find a petite brunette smiling about six inches too close to my face, if you’re following traditional social protocols. “I’m Mary Karr and I love you, honey.” Read More »
February 11, 2013 | by Sadie Stein
- Sharon Olds, Lena Dunham, and Jennifer Egan on The Bell Jar.
- Dark horse Antonio Munoz Molina wins the Jerusalem Book Prize.
- Little-known books, blockbuster adaptations: a bittersweet colloquy.
- The romance author Jessica Blair is really an eighty-nine-year-old vet named Bill, who has no problem with his nom de plume.
- In “a reverse Fahrenheit 451,” firefighters carry books to safety.
October 10, 2012 | by Sadie Stein
June 18, 2012 | by Thessaly La Force
If you’ve been loving Lena Dunham’s Girls, you should most certainly pick up a copy of Sheila Heti’s new novel, How Should a Person Be? In it, fictional Sheila struggles to answer the titular question through conversations with her friends (including Margaux, Misha, and Sholem), blowjobs, impulsive trips to Atlantic City and ... a whole lot more. The novel is a blend of the real and the imaginary—and somehow, in the process of recording her life, real Sheila blends into fictional Sheila, creating a work of metafiction that is playful, funny, wretched, and absolutely true. Sheila and I Gchatted not long ago. Sheila is an impressive writer (see her full bio here) as well as the interviews editor at The Believer. Below is an edited version of our conversation.
Let’s talk about your process. How did you take your conversations from your life and weave it into fiction?
I don’t know. I did lots of different things. But the conversations were not meant for a book. I was just taping friends. I didn’t have a plan for where I was going.
Did you think you were writing your play?
I wasn’t sure. I’d spent the previous five years working on Ticknor, and I wanted to sort of shake that off me. So all the transcribing I was doing was kind of like drinking a glass of water—it was refreshing, like a palate cleanser—a way of getting out of my imagination. Taping and transcribing was part of looking around to see what things were really like in my environment. I’d been completely in my room, in my head, not looking at anything.
That reminds me of something Tilda Swinton once said about filmmaking—it’s a social way of making art. What do you think happens when you’re working like this?
Well, the writing becomes more like life in that you don’t know where you’re going to end up, and you don’t know what’s going to end up being important. It’s like how in life you can meet somebody and not think much of them, then a few years later you’re married and in love, but the person you were really drawn to and thought, This is it!—you forget about them six months later. When I began transcribing, I was certain that I wanted to write a book with no people in it, about the workings of a supermarket.
That sounds so different than the book you ended up writing!
April 26, 2012 | by Sadie Stein