Of Note

Notes

Happy Friday, everyone. How have you been? I've battled migraines this week, so I am 100% ready for the weekend. You'll notice that all of the articles I've read the past few days are of the literary variety. I haven't kept in touch with the literary world as much in the past year, so understanding the movements of the industry now is something I want to catch myself up on. You may see a lot of those articles in the coming weeks, but I also want to keep it broad. I want to better educate myself on politics, for one. I think it's an important realm to understand in today's environment. As ever, I'm open to change and want to keep the influences of creative development here open to possibility. What the space is today won't be what the space is next year or even next week. So I'm looking forward to seeing how things evolve in my writing.

Reads

"Maybe the point isn’t banishing the women from the covers. And maybe it’s not even that the women should be more active and less sexualized—though there are still plenty of covers that shamelessly traffic in women’s backs and belittle authors and their work. The bigger problem may be how the women on book covers are received, and not only by top review outlets that routinely cover men’s books in egregious disproportion to those by women...but by women ourselves. We’ve internalized the establishment’s dismissal to the point where we can write a book about women, and maybe about children, too, and sex, and then feel pissed off when women and children and sex show up on our covers." (The Millions)

"This struggle takes place, I think, because the sincere reaction to making meaningful art is often speechlessness. We make art about what we cannot understand through any other method. The finished product is like a pearl, complete and beautiful, but mute about itself. The writer has given us this piece of his interior and there is frequently no explanation, nothing to be said about it. Often, the writer himself has very little idea of what he has created." (The Literary Hub)

"I think you need to be a little in love—not necessarily in a romantic sense, although that helps—but to be in love with the reality of your own life in order to produce beautiful and meaningful and intelligent things creatively." (The Great Discontent)

"Her protagonists, unusually for women in fiction, tend not to be wives or mothers. More often they’re figures who might be considered unpalatable, unattractive or — indeed — angry. Her work quietly seethes at the idea that a woman needs to be ‘‘likable’’ — or that a man should be the judge of her likability. More than that, it offers a space for women to be, as she puts it, ‘‘appetitive’’: to love inappropriately, to be ambitious, to simply want more." (The New York Times Magazine)

"Elsa Maxwell had said of Corrigan that 'she was not beau­tiful, she was not educated or particularly clever.' But Elsa also went on to say that 'she was honest, she had vitality, and she had a heart as big as her bank.'" (Delancey Place)

"Notice the number of really oddly dressed people milling around the truck bed with its lowered hatch, displaying heirloom tomatoes your grandmother would definitely have passed up (a brown tomato flecked yellow?), and microgreens. If there’s one-upmanship conversation among these bizarrely attired people, they’re chefs, not yet in their ubiquitous red patent-leather clogs and puffy pants. You may pick up a few helpful hints no person who isn’t on drugs would ever come up with. Lesson: you don’t have to be part of the Trump administration to tell bizarre, grandiose lies." (The Paris Review)

Finds

Better than your ex's worn-in button-up.

Like things you can count on? Pair this daily book giveaway with daily text affirmations.

A reverent column.

A fun new literary podcast.

This Cup of Jo series is every girl's, well, cup of Joe.

Who's ready to go camping with me? 

 

What are you up to this weekend?

I hope it's a lovely one.

Warmly,

Wren