And rather than leaving us cold, they pull us in. Think of Kafka’s The Castle, Sylvia Plath’s Double Exposure, or David Foster Wallace’s The Pale King. Each offers a kind of literary excavation site. We don’t simply read, we speculate, sift, and imagine.
They’re not always my favourites in the traditional sense. But they know something about me, or I know something about them. That's the power of rereading.
Read Mansfield Park.
Joan Didion has been a monumental influence on countless writers, including myself. Her works, from Slouching Towards Bethlehem to The Year of Magical Thinking, have profoundly shaped modern literature.
Anything new by her is a major literary event. So, the recent announcement of the posthumous publication of her personal journal, Notes to John, has ignited a significant ethical debate within the literary world.
Yes, it is exciting to see Didion's unpublished work, but is it right to publish her personal journals? Especially those detailing conversations with her psychiatrist?
Dialogue isn’t just there to make characters sound like they’re speaking. It’s one of the most powerful
When your dialogue serves multiple purposes, it pulls more weight, making your prose more efficient and engaging. Here are four well-known literary examples of how you can achieve this.
Every character, even those that appear briefly, benefits from a backstory. Understanding their past not
