Suspend Your Disbelief

Posts Tagged ‘literary legends’

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Andrew's Book Club: November Picks

by Anne Stameshkin

As a huge fan of Munro and Dzanc, I’m especially excited about Andrew’s picks for this month. (This is what the world will look like when there is too much happiness!) – Indie Pick: Laura van den Berg’s debut, What the World Will Look Like When All the Water Leaves Us (Dzanc) / description (via ABC): A failed actress takes a job as a Bigfoot impersonator. A botanist seeking a rare flower crosses paths with a group of men hunting the Loch Ness Monster. A disillusioned missionary in Africa grapples with grief and a growing obsession with a creature rumored […]


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"She calls us all by our last names."

by Celeste Ng

Alexander Chee, on Annie Dillard: In my clearest memory of her, it’s spring, and she is walking towards me, smiling, her lipstick looking neatly cut around her smile. I never ask her why she’s smiling—for all I know, she’s laughing at me as I stand smoking in front of the building where we’ll have class. She’s Annie Dillard, and I am her writing student, a 21-year-old cliché—black clothes, deliberately mussed hair, cigarettes, dark but poppy music on my Walkman. I’m pretty sure she thinks I’m funny. She walks to class because she lives a few blocks from our classroom building […]


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Issue 3 of Wag's Revue, and a contest

by Anne Stameshkin

Online-only literary mag Wag’s Revue‘s third issue, like its previous two, is full of great features (among them charcoal renderings of scenes from Point Break!), but for fiction’s sake, I’ll stick to–fiction. In addition to stories from Daniel Wallace, Louis Wittig, Gerald Barton, and Donald Dewey, I highly recommend Will Litton’s interview with George Saunders. And not just because there’s a charcoal drawing of Patrick Swayze before it. Here’s one of my favorite bits from the interview (this is Saunders speaking): I like it best when I’m just trying to make something funny and crazy and somehow a deeper truth […]


Essays |

Hobbling Up The Magic Mountain

I just read Thomas Mann’s The Magic Mountain. The whole thing. Starting on page one and ending on page 706. The events in the book span seven years, and reading it seemed to take almost as long. When I embarked on this project, I was recovering from orthopedic surgery … Why, then, would I want to read a lengthy book packed with intellectual digressions set in a tuberculosis sanatorium in the Swiss Alps prior to the start of World War II? Hadn’t I been through enough? How about something light, or at least short? A Carol Goodman murder mystery, or something by Nick Hornby? As it turned out, The Magic Mountain was a choice so perfect I’m thinking a copy should be handed out with every pre-admission packet given to surgical patients…


Essays |

Quotes & Notes: Writing What's Yours, When It's Yours to Write

by Steven Wingate

“You take up the pen when you are told, and write what is commanded.”
— Zora Neale Hurston

Consider Hurston’s words in the context of note-taking and revision, which we normally don’t think of as particularly inspired phases of the fiction process. Preparing the canvas can be a long and dreadful bore; we learn about our characters in slow motion, wanting to write the work itself but knowing that we aren’t yet ready. We synopsize, sometimes outline, sometimes take copious notes that we then ignore completely.


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"Restoring" A Moveable Feast

by Celeste Ng

Scribner caused a stir earlier this year by announcing it would publish a “restored” edition of Hemingway’s A Moveable Feast. Why? Because the original edition was edited after the author’s death by Hemingway’s fourth wife and literary executor, Mary, who reordered parts of Hemingway’s unfinished manuscript and included parts he had wished to exclude–including a chapter that that portrays his second wife, Pauline Pfeiffer, in a negative light. Scribner claims the new edition is what Heminway actually intended: Since Hemingway’s personal papers were released in 1979, scholars have examined and debated the changes made to the text before publication. Now, […]


Essays |

The Copernican Author: On Point of View, Ptolemaic Characters, and Useful Unknowing

by Michael Byers

Ptolemy was trying to describe a system that didn’t exist. His point of view, literally, was wrong. He wasn’t looking at the planets from a fixed center, but from a body that was itself circling the sun. Copernicus’ eventual understanding of this fact led swiftly to the discovery of several other beautiful truths, including those of Kepler, Brahe, and Newton – suggesting that where you stand has everything to do with what you can see. And that if you’re standing in the wrong place, or facing the wrong direction, you’re going to see a very strange, distorted view.

All of which is to say, point of view matters. It might be proposed that an author does well to be relatively Copernican, even if his characters start out almost entirely Ptolemaic. … The supreme example of a character remaining Ptolemaic within a Copernican story is Chekhov’s “Lady with the Pet Dog”. In this story, Chekhov knows nearly everything, and Anna knows, perhaps, only a little less – while the point of view character Gurov knows almost nothing of what goes on around him.


Essays |

Quotes & Notes: Peering and Leaping into the Author/Character Vortex, Part II

by Steven Wingate

“Do not imagine you can exorcise what oppresses you in life by giving vent to it in art.”
–Gustave Flaubert

Practitioners of fiction may find this Flaubert quote hard to embrace, because if we’re honest with ourselves we’ll probably have to make some difficult admissions. Many of us—especially those who fell in love with the craft early, perhaps under the spell of Austen or Kerouac or Salinger—embarked on the fiction endeavor with an eye toward self-discovery. Most writers started writing because we found ourselves immersed in the character-self vortex as readers, identifying with fictional characters so intensely (as we searched for ourselves in them) that it became second nature to live in their worlds. From there it’s a small but decisive step to the other side of the formula: entering into the vortex as a writer and deciding to participate in literature as a transmitter of emotional signals rather than as a receiver alone…


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"I fear those big words, Stephen said, which make us so unhappy."

by Anne Stameshkin

In a single day — June 16, 1904 — Leopold Bloom and Stephen Dedalus walked the streets of Dublin and the pages of James Joyce’s Ulysses. Today in cities across the globe, fans of the novel are celebrating with races, walking tours, pub crawls, readings, and performances. If you’re in Dublin itself, events began on June 13 and culminate today with a walking tour, Bloomsday breakfasts at the James Joyce Centre, readings and songs in Meetinghouse Square, and a screening of John Huston’s The Dead at the Irish Film Institute. New Yorkers, if you haven’t experienced Bloomsday on Broadway (at […]




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