I Used to Insist I Didn’t Get Angry. Not Anymore.
On female rage.
On female rage.
Leïla Slimani’s best-seller explores the dark relationship of a mother and her babysitter.
Teaching Emily Dickinson at Santa Fe Community College in Gainesville, Florida.
When she died in 1952, author Margaret Wise Brown left the rights to Goodnight Moon to a nine-year-old neighbor named Albert Clarke. The book became a classic. Clarke, living entirely off the royalties, became a deadbeat.
“Who we become has so much to do with the experiences we had, and how we survived.”
“‘Make America Great Again’ means ‘Make America White Again.’ So now you have this other explosion of people who want to feel above something, better than something. And who is that? That’s me.”
What’s a writer to do when the audacity dwindles?
A profile of the writer.
"I’m not familiar with books on style. My role in the revival of Strunk’s book was a fluke—just something I took on because I was not doing anything else at the time. It cost me a year out of my life, so little did I know about grammar."
The greatest writers of the nineteenth century were drawn to the North Pole. What did they hope to find there?
On the history of the essay and someone who had gotten it all wrong.
Did a forgotten black gumshoe inspire the famous works of both Raymond Chandler and Dashiell Hammett?
David Roberts spent his life facing death in the mountains. Now he is facing a fatal prognosis.
Shirley Jackson wrote 17 books while raising four children — and she couldn’t have had a successful career without them.
The mysteries of the least known Brontë sister.
Four dispatches from the 100th anniversary of Bloomsday.
In most places in the world, June 16 is just another day on the calendar, but here in Dublin, the day that James Joyce earmarked for Ulysses is celebrated with a fervor not seen here since the days of the druids when, if you really wanted to party, you needed a couple skeins of wine and a grove full of virgins.
We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.
A profile of author Maggie Nelson.
An interview with the novelist.
Searching for meaning at Baldwin’s soon-to-be-demolished home in France.
“It’s odd, the older I get, the more I remember.”
A profile of the editor behind Ta-Nehisi Coates’s Between the World and Me, Jay Z’s Decoded, and more.
On George Plimpton and the founders of The Paris Review.
Early in the fifties another young generation of American expatriates in Paris became twenty-six years old, but they were not Sad Young Men, nor were they Lost; they were the witty, irreverent sons of a conquering nation.
“You read enough books in which people like you are disposable, or are dirt, or are silent, absent, or worthless, and it makes an impact on you. Because art makes the world, because it matters, because it makes us. Or breaks us.”
The origin story of Gabriel García Márquez’s classic.