That photo on the cover comes from Marc Yankus, whose subject is New York buildings: “I can feel the brick, I can feel the hardness and the corners of the building … the structure, the monolith, the sculpture, the abstract.”
In the Art of Memoir No. 2, Vivian Gornick talks about feminism, bad reviews, love versus work, and coming to terms with failure:
I knew I had to stay with it as long as it took to write a sentence I could respect. That’s the hardest thing in the world to do—to stay with a sentence until it has said what it should say, and then to know when that has been accomplished.
And in the Art of Screenwriting No. 5, Michael Haneke reveals the imaginative process behind movies like The White Ribbon and Amour—and why there are no “right” readings of his films:
I would never set out to make a political film. I hope that my films provoke reflection and have an illuminating quality—that, of course, may have a political effect. Still, I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead.
There’s also a special triple feature on Karl Ove Knausgaard, with an exclusive excerpt from My Struggle, Book 4; an essay on depression and Dante’s hell; and an exchange with The New Yorker’s James Wood on masculinity and good reasons for writing badly.
Plus new fiction by Joe Dunthorne, Ottessa Moshfegh, Sam Savage, and Saïd Sayrafiezadeh; poems from Sylvie Baumgartel, Jeff Dolven, Cathy Park Hong, Phillis Levin, Jana Prikryl, Frederick Seidel, and Brenda Shaughnessy; and a series of aphorisms by Sarah Manguso.
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