How many authors of commercial fiction do you know who get huge, glowing profiles in the New Yorker? Well, Jennifer Weiner just did, as she continues to ride her successful hobbyhorse about not getting respect.
Tonight on PBS, I sit down with award-winning producer J.J. Abrams. He's co-created iconic television programs such as Lost. Tonight he talks about working on his recently released interactive novel titled S. and his newest show Almost Human.
Alice Munro's writing, like all great writing, teaches us to be human. It engages big questions in small spaces: What does it mean to be regional? What does it mean to be Canadian? What does it mean to be a mother? What does it mean to be betrayed?
What makes a book chick lit as opposed to literary fiction? This question is, in reality, not difficult to answer -- at least for any thoughtful reader who enjoys a variety of fiction -- but it continues to surface.
I study, teach, and write about things that non-English professors also encounter every day: words and images. Yet when English profs teach these materials in the classroom, and especially when we write about them in academic journals or scholarly books, we sound different.
A Derangement show is the perfect intro to a New York evening. Starting at 7:30 and running until around 10, there's no cover, a good bar, and plenty of places to sit, lean, or sway around to get caught up in the show.
Dan Chaon was recently taken to task in Salon for suggesting that young writers read literary fiction. Why? Because it's "terrible." But Chaon wasn't recommending that young writers read only literary fiction. His advice was actually more specific than that.
There are many other aspects to being a woman -- to being human -- that can't be expressed through memoir. For an alternate narrative experience, read the novel The Salt God's Daughter by Ilie Ruby -- a lyrical, luxuriantly mystical meditation on being female.