Essays Archives - Page 73 of 101 - The Millions
February 24, 2011
We care about what our words look like because we somewhere believe that this says something about who we are beyond font or scrawl.
February 23, 2011
For a certain type of girl wending her way through adolescence in the mid 1990s, the bible was a paperback novel with a hot pink spine. It was Blake Nelson’s debut and it was called, aptly, Girl.
February 15, 2011
by Bill Morris
This seemingly innocent question was put to me for the first time a couple of weeks ago when a paperback review copy of a non-fiction book arrived in my mailbox.
February 10, 2011
by Edan Lepucki
The truth is, every published writer has been faced with summing themselves up in just a few sentences. It’s not easy, and a bio isn’t a fixed thing–or at least not until you’re dead. Until then, it (hopefully) evolves with each new publication, each year lived. The decision of what to include and exclude persists throughout one’s career.
February 9, 2011
The Cookbook Collector’s literary elegance is part of what made the book invisible to a broad public, while Franzen’s roaring crassness is part of what made his book such a smash. He’s just a lot louder than she is.
February 7, 2011
Given all the years you spent writing your book or composing your music or perfecting your play before someone came along and spat on it, it’s extraordinarily difficult to respond to a bad review with grace.
February 4, 2011
In the era of O Brother, Where Art Thou? and Cold Mountain, it is puzzling that more attention has not been paid to the extensive parallels to The Odyssey in Toni Morrison’s Beloved.
January 26, 2011
by Bill Morris
All art comes from art. To admit this is not to concede that there’s no such thing as originality any more than it’s a license to borrow without attribution and then call it your own.
January 21, 2011
by Eryn Loeb
Jim Carroll may have been gone, but in the comforting, ghostly way that artists do, he would endure.
January 20, 2011
Toussaint deals with both the little irritations and the Big Questions, usually in as close a proximity as possible, and he respects no boundary between fiction and nonfiction.