Adnan’s rejection of boundaries of time, geography, and standard logic echoes the very nature of two of her works: one written in English, one translated from French, one intentionally written as a collection, one pulled together from many years of disparate writing.
I am so into Ann Patchett right now. Is it hip to be into Ann Patchett? Is it edgy? No. It’s book clubby. It’s suburban mommy. My book club of suburban moms met last night and discussed Commonwealth. When we chose it, we laughed a little about what an
Lately I’ve been thinking about time in novels. How to manipulate it, whether it should be linear or nonlinear, and what that choice means for a story. I began to examine it more closely after a recent weekend novel workshop I took with Lauren Grodstein.
Like any writer I dream of being awarded a life-altering grant or winning the state lottery, or at the very least, the heart of some word-loving benefactor, a silver-haired sugar mama or daddy who’ll rescue me from hard labor, no strings attached, simply for the satisfaction of seeing my
This is the third installment of a year-long journey through Thomas Jefferson’s Notes on the State of Virginia. You can read previous installments here and here. ** Query IV: A notice of its mountains Query V: Its cascades and caverns I walked into Queries IV and V thinking Jefferson
Sade Murphy pauses time in her prose piece(s) “Entry 098 &/or Monday Night Before Thanksgiving or//Venus & Mars in Libra” in DREGINALD. A series of moments—walking down Grand Street, pivoting on Putnam, taking the bus to Greenpoint—become infused with back-and-forth switches of vision, allowing Murphy to double her text. This doubling
One of the greatest challenges of writing a novel is choosing where to begin it. Choosing where to end it is also important (or so I’ve been told). But even once a writer makes those big decisions, the novel is fraught with similar choices at the micro level. Where
Pacing, suspense, and flashbacks are just a few of the topics covered in The Art of Time in Fiction, Joan Silber’s insightful reference for writers who wish to better understand the technique of arranging time to narrative effect. Yet I am just as interested in the art of time
This time of year, many of my friends start looking for summer shares, beach houses, and too-good-to-be-true getaways. While they litter Pinterest with snapshots of cozy cottages within walking distance of the ocean, I drift away on a different flight of fancy: writing retreats and residencies. I pour over