"These stories are loaded with memorable snapshots. But for a writer of Taylor’s wit and intelligence, that’s no longer enough." Our own Bill Morris reviews Justin Taylor’s Flings.
It’s a tricky thing, success. How do you write a book to follow your own breakout novel, a title that leapt off shelves and became a phenomenon? That’s a good problem to have, but a challenge nonetheless.
"Most fiction about Jewish immigrants takes place in New York. I wanted to explore a different setting." Lisa Peet interviews Ronna Wineberg about On Bittersweet Place.
You may have heard that our own Emily St. John Mandel has a new book on shelves. The book depicts a post-apocalyptic future in which a group of nomadic actors deal with the aftermath of a devastating flu pandemic. Claire Cameron (who’s also written for The Millions) reviews the book for The Globe and Mail.
The Millennial generation of writers can learn from Keegan in that she allowed herself to sound and to be fully 22, to explore what that meant and to celebrate the value of a young perspective, but never sounded like she was writing a generic think-piece on ‘What It’s Like to Be Young Today.’
But in the absence of conclusive evidence, sleep’s utility—like that of fiction—is still in doubt. How much, in the end, does either one matter? Neither fiction nor dreams are what we call “real life,” that conscious space sandwiched in the sunny hours of each day. No matter how vital my dreams are to me, they—like my writing—exist in the margins of my daily life, the shadowed wings to either side of whatever action is happening onstage. The decrease in the financial support and cultural priority allotted to all forms of the arts has enhanced the sense that what writers are doing is not quite a job, not quite worth professional payment—not quite, well, necessary.