Tag: writers

The writer describes her process of reporting and shaping her recent essay, “The State of Waiting,” which explores love in the shadow of war and immigration policy.

A small sampling of standout essays published this year.

“Every fiction about the future is like an ice-cream cone,” Gibson says, “melting as it moves into the future.”

Karen Brown recalls the pain and joy of fulfilling a deathbed promise.

Rule one of freelance writing: accept rejection with grace.

Sara Fredman talks to author Lindy West on women and likability, the evolution of pop culture, and navigating conversations in a complex, messy world. 

Emma Jacobs takes us on an illustrated journey of Hugo’s writing life in exile on Guernsey, where he completed Les Misérables.

In this reading list, Jeanne Bonner ruminates on the joys of writing by hand and keeping a notebook.

The pros and cons of building one’s brand on Twitter.

Carolita Johnson looks back on the many ways she’s tried to juggle work with her *work.*

Renowned for the size of his books as the magnitude of his subjects, the author is ready to take on waste and climate change.

Alexander Chee considers the ways in which answering the question, “What are you?” turned him into a writer.

How a septuagenarian friend taught critic Daniel Mendelsohn to see the world as a writer.

“…the viral is becoming more viral, and websites are mousetraps, and content the cheese,”

The writer showed his students and friends how to remain an artist, even when one becomes a kind of cult figure.

“Begin by writing about anything else,” says Porochista Khakpour, until she becomes conflicted about writing about being Iranian-American.

Publishing asks women — but not men — to be nice, as well as talented. Should we ask men to be more nice, or give women the leeway to be less so?

Jenny Diski remembers Doris Lessing’s unemotional approach to motherhood and life.

In 1987, a young Nikki Finke profiled the “Literary Brat Pack” (choice Brat Pack members included Bret Easton Ellis and Jay McInerney, of Less Than Zero and Bright Lights, Big City fame, respectively) for The Los Angeles Times.

The author’s 1992 interview with poet Edward Hirsch.

Fifty years later, he awoke one fine morning like Rip Van Winkle, and found himself again with his sea bag on his shoulder looking for anywhere he could live and work. The new owner of his old flat now wanted $4,500 a month, and many of his friends were also evicted, for it seemed their buildings weren’t owned by San Franciscans anymore, but by faceless investors with venture capital. Corporate monoculture had wiped out any unique sense of place, turning the “island city” into an artistic theme park without artists. And he was on the street.

The waiter arrives. When he asks about food allergies, Kafka hands him a written list. Then he excuses himself to go to the bathroom. As soon as he’s gone, Kundera says, “The problem with Kafka is that he never got enough tail.” We all snicker. Joyce orders another bottle of wine. Finally, he turns and looks at me through his dark glasses. “I’m reading your new book,” he says. “Oh?” I say. “Yes,” says Joyce.

What gave the Black and White Ball “its intoxicating piquancy,” according to Amy Fine Collins, was the fact that Capote’s guest list had “flung together, in a gilt-edged melting pot, the most alluring power brokers in the worlds of high society, politics, the arts, and Hollywood—disconnected universes that collided, if not for the first time that evening, then at least with unprecedented force.”

The Ball also found an unlikely chronicler in Gloria Steinem, an invited guest who had made Capote’s acquaintance after she interviewed him for Glamour the year before. Steinem wrote a feature on the party for Vogue in January 1967 in which she described the luminaries, feathers, masks, ball gowns, and jewels all whirling around the room: “The effect was like some blend of Hollywood, the Court of Louis XIV, a medieval durbar, and pure Manhattan.”

Guernica: Is there ever a situation where you’d advise an author not to take a big advance that’s being offered? Chris Parris-Lamb: No, not really. Which is not the same as saying they should always take the biggest advance that’s being offered. But I’d never advise an author to turn down an advance because it’s […]

During World War II Hemingway organized a private spy network, which he jokingly called the Crook Factory, and gathered information about Nazi sympathizers on the island. But in a secret, 124-page report on Hemingway, the FBI—which feared his personal prestige and political power—expressed resentment at his amateur but alarming intrusion into their territory, and unsuccessfully […]

“I moved to Lower Manhattan when I was seventeen. The only things I cared about were books and music.”

“The first shock was the sheer discovery of a book about my mother and my family, which had information about me and my identity that had been kept hidden from me,” Teege says. “I knew almost nothing about the life of my biological mother, nor did my adoptive family. I hoped to find answers to questions that had disturbed me and to the depression I had suffered from. The second shock was the information about my grandfather’s deeds.”

What Márquez told Peter H. Stone in a 1981 interview with The Paris Review.

Sex is difficult to write about because it’s just not sexy enough. The only way to write about it is not to write much. Let the reader bring his own sexuality into the text. A writer I usually admire has written about sex in the most off-putting way. There is just too much information. If you start saying “the curve of . . .” you soon sound like a gynecologist.

“For five generations, the marquis’ name was taboo in our family,” Hugues marveled. “It was as if there was an omertà (conspiracy of silence) against him! The family no longer even used the title marquis.”