Starting tomorrow, Dark Sky editor and Hobart contributor Brian Carr, will be reviewing a book every weekday for the month of February. Good thing February is our shortest month. But too bad it’s a leap year! This is an interesting project and one to keep your eye on.
Hobart contributor Eugene Cross interviews himself (!) over at The Nervous Breakdown. Topics discussed: cereal, book titles, and his forthcoming collection Fires of Our Choosing, out next month from Dzanc.
CLUE 1: “went to short dogs house, they was watching Yo MTV RAPS”
Yo MTV RAPS first aired: Aug 6th 1988
Ice Cubes single “today was a good day” released on: Feb 23 1993
CLUE 3: ”The Lakers beat the Super Sonics”
Dates between Yo MTV Raps air date AUGUST 6 1988 and the release…
Excellent project over at Knox College full of recordings of writers reading “poems, stories, essays, and interviews of nearly one hundred writers from Chicago to Madison to the Twin Cities to Kalamazoo to St. Louis to Kansas City.” It’s an ambitious and intriguing project. Lots of great writers are in on it, including Hobart’s own Sam Martone, who reads his story “The Private Eye’s Investigation” plus “Lull” by Kelly Link! Check out the site, listen to some stories, love everything a little more.
Sad to see Quick Fiction is closing shop. They’ve long been a favorite here at Hobart and we’re disappointed to see them go. They put out 18 amazing issues full of tremendous writing, which you can grab up at discounted prices at their website. Go to it.
“You can tinker and get ready and get schedules ready for spring training all you want. It will be nice to get on the field and see people do baseball things instead of looking at sheets of paper.”—Robin Ventura On Writing (via mightyflynn)
“But he did sternly forbid us two exercises: we were not to try under any circumstances to discover the true name of the Lord; we were not to think about the problem of infinity. It is unlikely that I would have done much speculation in either of these areas if I had not been so explicitly forbidden.”—"Point of the Needle," S. N. Behrman (The New Yorker, June 5, 1954)
For young(ish) writers, reading Jonathan Franzen’s The Corrections has for a long time seemed like a kind of prerequisite to engaging in literary practice: writing, reading, thinking about novels and their future or lack of future, or whatever else. When I was in college, the book seemed a kind of talismanic object, a guidebook, a blueprint to follow if I ever wanted to write serious fiction.
I liked The Corrections more than most of my peers (I think), and I get the feeling I’m older than the author, but when/where did he go to school?!?
“As I sat at home writing it, far inland on a little mountain… I realized Swell would seem much more authentic if I could rely on seasons of experience as a professional fisherman. Which are entirely lacking from my CV. So I thought perhaps I should spend some time fishing in Maine. I could make a little money and research my novel. I scotched that canard fast. Fishing seemed extremely difficult, so I watched it on TV, instead.”—Necessary Fiction — Research Notes: Corwin Ericson
The Hart House Review is now accepting applications for the post of Deputy Editor, who will become Editor-in-Chief for the 2013 Review. Please submit cover letters and resumes to firstname.lastname@example.org by Sunday February 5.
“Creating work is your job. Waiting for opportunities in the entertainment industry is an impossibility; they are not coming. You have to make your own. We were always out on this take. We were shooting stuff before we had a TV show. We would do live shows every couple months. We’d always be doing, doing, doing because the second you wait for someone else’s opinion or somebody’s money or anything…One, it’s not coming. Two, they’re probably going to fuck it up. So, it’s tricky because the ball is always in your court.”—Sage advice from Thomas Lennon (via balltillifall)
Paris Review - The Art of Fiction No. 40, Vladimir Nabokov
INTERVIEWER:Clarence Brown of Princeton has pointed out striking similarities in your work. He refers to you as “extremely repetitious” and that in wildly different ways you are in essence saying the same thing. He speaks of fate being the “muse of Nabokov.” Are you consciously aware of “repeating yourself,” or to put it another way, that you strive for a conscious unity to your shelf of books?
NABOKOV:I do not think I have seen Clarence Brown's essay, but he may have something there. Derivative writers seem versatile because they imitate many others, past and present. Artistic originality has only its own self to copy.