A history of erasure as literature.

Exploring the relationship between authors and their parents.

It mattered to her that she could have, or might have, been a writer, and perhaps it mattered to me more than I fully understood. She watched my books appear with considerable interest, and wrote me an oddly formal letter about the style of each one, but she was, I knew, also uneasy about my novels. She found them too slow and sad and oddly personal. She was careful not to say too much about this, except once when she felt that I had described her and things which had happened to her too obviously and too openly. That time she said that she might indeed soon write her own book. She made a book sound like a weapon.

A profile of Quentin Rowan, a.k.a. Q. R. Markham, ‘author’ of last fall’s short-lived spy novel hit Assassins of Secrets, which was pieced together using more than a dozen sources.

On Alison Winter’s Memory: Fragments of a Modern History, and issues of memory in the 20th century.

Underlying the compelling feeling that we are our memories is a further common-sense assumption that our entire lives are accurately retained somewhere in the brain ‘bank’ as laid-down memories of our experience, and that we retrieve our lives and selves from an ever expanding stockpile of recollections. Or we can’t, and then that feeling that it’s on the tip of our tongue, or there but just out of range, still encourages us to think that everything we have known or done is in us somewhere, if only our digging equipment were sharper.

On literary tourism:

Dickens World, in other words, sounded less like a viable business than it did a mockumentary, or a George Saunders short story, or the thought experiment of a radical Marxist seeking to expose the terminal bankruptcy at the heart of consumerism. And yet it was real.

Sixty-nine years after publication, Fortune revisits “Let Us Now Praise Famous Men” – a story it commissioned but did not run.

On the life of Ray Bradbury.

A history.

 The explosion of publishing created a much more democratic and permanent network of public communication than had ever existed before. The mass proliferation of newspapers and magazines, and a new-found fascination with the boundaries of the private and the public, combined to produce the first age of sexual celebrity.

On Patti Smith.

It was easy for lazy journalists to caricature her as a stringbean who looked like Keith Richards, emitted Dylanish word salads, and dropped names—a high-concept tribute act of some sort, very wet behind the ears. But then her first album, Horses, came out in November 1975, and silenced most of the scoffers.

Didion’s genius is that she understands what it is to be a girl on the cusp of womanhood, in that fragile, fleeting, emotional time that she explored in a way no one else ever has. Didion is, depending on the reader’s point of view, either an extraordinarily introspective or an extraordinarily narcissistic writer. As such, she is very much like her readers themselves.

Inside the Shel Silverstein archive.

One of the things you learn is that “polymath” doesn’t even begin to describe Silverstein. His creativity extended in so many directions that his archivists must be versed not just in turn-of-the-century world children’s literature, but Waylon Jennings’s deep cuts; not just in reel-to-reel tape preservation, but how to keep an old restaurant napkin scribbled with lyrics from falling apart.

James Wood on Saul Bellow:

One realizes, with a shock, that Bellow has taught one how to see and how to hear, has opened the senses. Until this moment one had not really thought of the looseness of a lightbulb filament, one had not heard the saliva bubbling in the harmonica, one had not seen well enough the nose pitted with black pores, and the demolition ball’s slow, heavy selection of its victims. A dozen good writers–Updike, DeLillo, others–can render you the window of a fish shop, and do it very well; but it is Bellow’s genius to see the lobsters “crowded to the glass” and their “feelers bent” by that glass–to see the riot of life in the dead peace of things.

When Saul Bellow and Ralph Ellison were roommates.

He and I had our differences. I am not inclined to be sentimental about those Arcadian or Utopian days. He didn't approve of my way of running the place. I had complained also that his dog relieved himself in my herb garden. I asked, "Can't you arrange to have him do his shitting elsewhere?"

The demise of America’s favorite mega-bookstore and the factors beyond the e-book boom that fueled the book retail meltdown.

Thomas Pynchon walks down a New York City street in the middle of the morning. He has a light gait. He floats along. He looks canny and whimsical, like he'd be fun to talk to; but, of course, he's not talking. It's a drizzling day, and the writer doesn't have an umbrella. He's carrying his own shopping bag, a canvas tote like one of those giveaways from public radio. He makes a quick stop in a health-food store, buys some health foods. He leaves the store, but just outside, as if something had just occurred to him, he turns around slowly and walks to the window. Then, he peers in, frankly observing the person who may be observing him. It's raining harder now. He hurries home. For the past half-dozen years, Thomas Pynchon, the most famous literary recluse of our time, has been living openly in a city of 8 million people and going unnoticed, like the rest of us.

Pete Dexter, profiled.

"I'm sick and tired of the story," says Dexter, though he knows it is a signature moment of his trajectory from newsman to writing some of the most original and important novels in American literature, including the National Book Award–winning Paris Trout (1988), a riveting tale of an unrepentant racist who brutally murders a 14-year-old black girl in a small Georgia town in the late 1940s. Settling deep into a dark-green leather chair near a patio window that offers a commanding view of ferries chugging across the cold blue waters, Dexter begins: "It was not a good column. I was trying to write something I didn't feel." Dexter is referring to the column that almost got him killed.

How Timothy Patrick Barrus, a white writer of gay erotica, reinvented himself a (wildly successful) Native American memoirist.

An interview with the author.

"We live in a frightened time and people self-censor all the time and are afraid of going into some subjects because they are worried about violent reactions. That is one of the great damaging aspects of what has happened in the last 20 years. Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.' I am a writer. I write books."

A profile of the writer.

On Gabo and his complicated role in the country of his birth, Colombia.

In 1972, James Wolcott arrived in New York armed with a letter of recommendation from Norman Mailer. He hoped to land a job at The Village Voice. Excerpted from his memoir, Lucking Out.

How lucky I was, arriving in New York just as everything was about to go to hell. I had no idea how fortunate I was at the time, eaten up as I was by my own present-tense concerns and taking for granted the lively decay, the intense dissonance, that seemed like normality.

On the tangled early careers of Jonathan Franzen, David Foster Wallace, Mary Karr and Jeffrey Eugenides.

Jonathan Safran Foer It’s been an awfully long time since we last spoke. Four years? And it’s been a long time since the reading world last got new material from you. About seven years? What’s been going on? Jeffrey Eugenides I’ve been writing a book.