Some Thoughts


Read about Christoph Niemann’s animated, rainy-day cover this week.

The New Yorker’s first ever GIF cover. 

v nice



Read about Christoph Niemann’s animated, rainy-day cover this week.

The New Yorker’s first ever GIF cover. 

v nice

(Source:, via powells)

30 Sep 2014    3,849 notes

Writing is difficult. Writing is difficult in the beginning, difficult in the middle and difficult at the end. And then, when you’ve finished, there is a whole new raft of difficulties having to do with publication—but I will save those issues for a much longer speech entitled The Trouble with Publication.

Writing itself is a series of problems to be solved, problems that constitute the hard work of writing and being a writer. Sometimes you can be surgical and rational in solving various difficulties, but it is the peculiar distinction of writing and much of the creative life that the inherent difficulties of writing have a propensity to become internally, personally disturbing and confusing, agitating, and otherwise psychologically problematic.

- Michelle Huneven, “The Trouble with Writing” (via millionsmillions)
22 Sep 2014    77 notes
“One writes out of one thing only — one’s own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.”

- James Baldwin (via observando)

(via poetsandwriters)

23 Aug 2014    506 notes
“To write what is worth publishing, to find honest people to publish it, and get sensible people to read it, are the three great difficulties in being an author.”

- Charles Caleb Colton (via writetothestars)
21 Aug 2014    24 notes
“It’s very important to me to emphasize this, that the shapeliness of fiction almost always depends on the presence of an arc, and it’s not simply a plot-driven device; it’s the ways in which the story creates meaning and emphasizes and amplifies. And it has to work on the reader sneakily or he or she won’t be persuaded.”

- : “Short Story: A Process of Revision” by Antonya Nelson 
6 Aug 2014    46 notes
Haruki Murakami on how your jazz collection can help you become a Nobel Prize contender.



From a 2007 essay published in The New York Times, tracked down by our resident jazz aficionado and ascendant rock star, Shuja: 

"Whether in music or in fiction, the most basic thing is rhythm. Your style needs to have good, natural, steady rhythm, or people won’t keep reading your work. I learned the importance of rhythm from music — and mainly from jazz. Next comes melody — which, in literature, means the appropriate arrangement of the words to match the rhythm. If the way the words fit the rhythm is smooth and beautiful, you can’t ask for anything more. Next is harmony — the internal mental sounds that support the words. Then comes the part I like best: free improvisation. Through some special channel, the story comes welling out freely from inside. All I have to do is get into the flow. Finally comes what may be the most important thing: that high you experience upon completing a work — upon ending your ‘performance’ and feeling you have succeeded in reaching a place that is new and meaningful. And if all goes well, you get to share that sense of elevation with your readers (your audience). That is a marvelous culmination that can be achieved in no other way."

Also: check out this excerpt from Murakami’s new novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage, coming out—barring any storms of fish, worm-triggered earthquakes, or our collective tumble into an alternate world almost-but-not-quite-like our ownany minute now (August 12, to be exact). 

31 Jul 2014    80 notes
“I was a new writer and I was supposed to write all the time, wasn’t I? I had not yet discovered that there are times when one can’t write, one shouldn’t write, times for thought, for deepening, or just reading, or simply living.”

- Stanley Crawford in a letter to Noy Holland (The Believer, Feburary 2010)

(Source: leopoldgursky, via poetsandwriters)

26 Jul 2014    1,497 notes


Life goes on, but individual poems
stop. The most you can hope for is the line
that doesn’t end with a period. You
are suspended in the middle of a
sentence, possibly look up, then resume
reading as if the music never stopped,
as if everyone didn’t have to dive
for the chairs, of which there were always one
too few. This was before birthdays returned
with such increasing rapidity that
you lost count, the world hurtling around the
small yellow star, the entire universe
flashing past your bewildered eyes until,
like a premeditated sonnet, all is still.

A poem from Bilateral Asymmetry by Don Riggs, which L.S. Bassen reviews over at The Rumpus.

17 Jul 2014    72 notes

Some of the books that I consider my favorite are ones that rock me to my core, that leave me feeling like someone squeezed my heart really tightly for those 300 to 400 pages. But the idea of going through that experience for a second time? No, thank you.

Not only do I not want to experience that kind of emotional roller coaster for a second time (let’s ignore the fact that I continue to go through it, just with different books), but what if it is worse a second time around? Now that I know what is coming, will the ride only be worse because I am just waiting for events to occur? Will I even have the strength to continue through the book a second time around? Part of me thinks it is like knowing that an oven is hot and choosing to touch it anyway.

- from On Books I Love That I’ll Never Reread by Rincey Abraham (via bookriot)
16 Jul 2014    764 notes

Praise for a Color
Yellow infers from itself papayas and their pulp,penetrable yellow.At noon: bees, sweet stinger and honey.Whole eggs and their nucleus, the ovum.This interior thing, miniscule.From the blackness of the blind viscera,hot and yellow, the miniscule speck,the luminous grain.Yellow spreads and smooths, a downpourof the pure light of its name,tropicordial.Yellow turns on, turns up the heat,a charmed flute,an oboe in Bach.Yellow engenders.
—Adélia Prado. Art: Helen Frankenthaler.


Praise for a Color

Yellow infers from itself papayas and their pulp,
penetrable yellow.
At noon: bees, sweet stinger and honey.
Whole eggs and their nucleus, the ovum.
This interior thing, miniscule.
From the blackness of the blind viscera,
hot and yellow, the miniscule speck,
the luminous grain.
Yellow spreads and smooths, a downpour
of the pure light of its name,
Yellow turns on, turns up the heat,
a charmed flute,
an oboe in Bach.
Yellow engenders.

Adélia Prado. Art: Helen Frankenthaler.

15 Jul 2014    285 notes