Nick Offerman is a jack of all trades—since leaving Parks and Recreation, he has performed in a stage production of A Confederacy of Dunces, and now he’s about to publish his third book, Good Clean Fun: Misadventures in Sawdust at Offerman Workshop. He sat down for an interview with Etsy this week.
"How could we possibly trust any creature that comes into the world wearing such a caul of ambiguity? That’s “essayists.” Four hundred and four years later, they continue to flourish." John Jeremiah Sullivan offers a loose history of the essay, essayists, and all their many contradictions in a piece for The New Yorker.
“There are dangers for an artist in any academic environment,” says former Poetry editor Christian Wiman, who now teaches at the Yale Institute of Sacred Music. “Academia rewards people who know their own minds and have developed an ironclad confidence in speaking them. That kind of assurance is death for an artist.”
"It wasn’t our job to be aroused; it was our job to enhance literature meant to arouse our paying readers." Kayleigh Hughes writes for Catapult about her year of editing e-erotica. You will learn myriad things from her account, such that publishers list "every sex act contained in every book, and the page on which those activities could be found, so that those in sales could properly categorize and organize the books for maximum success in the e-market." And if your lust still requires further satiation, see also this account of writing the erotica itself.
"The Laughing Monsters is, ultimately, about reality, myth, and outright lies. Johnson has always been interested in those moments when the thin skin of the world breaks and we are ushered, unprepared, into another realm." Stav Sherez reviews Denis Johnson's The Laughing Monsters (which we listed in our Second-Half 2014 book preview) and considers the modern spy thriller for the Los Angeles Review of Books.
Fans of the French Oulipo movement will know about A Void, the Georges Perec novel written entirely without the use of the letter “e.” What very few readers of any kind know, however, is that in 1939, thirty years before Perec’s novel was published, Ernest Vincent Wright wrote a book in English, Gadsby, that hewed to these same constraints. At The Atlantic, Nikhil Sonnad investigates how this experiment plays out in the book.