paper trail

Ben Marcus on writer's block; Hua Hsu on "the end point of representation"

Ben Marcus

Apple has bought the streaming rights to a series based on Nathaniel Rich’s New York Times Magazine 30,000 word article on climate change.

“To me, writer’s block is a sign that I probably ultimately don’t give enough of a shit,” Ben Marcus tells Literary Hub in an interview. “I also don’t write so sharply if I don’t care about what I’m doing, and caring is hard to fake.”

Lake Success author Gary Shteyngart shows off his “year-round dacha” in upstate New York.

At Garage, Philippa Snow wonders if reclusive actress Greta Garbo, who left acting and public life at thirty-six, was a predecessor of the main character of Ottessa Mosghfegh’s My Year of Rest and Relaxation.

At the New York Times, Alexandra Alter looks at Little Man, Little Man, James Baldwin’s 1976 “experimental, enigmatic” children’s book, which is being reprinted by Duke University Press.

“Amid the family-dysfunction slapstick and the haughty splendor I found myself moved by moments when very little was happening, the kinds of everyday moments that I’ve always wanted to see onscreen: friends eating at the night market, an elder slowly studying the face of a newcomer, the pained but sympathetic expression of a native speaker trying to decipher another’s rusty Mandarin,” writes Hua Hsu on the film adaptation of Kevin Kwan’s Crazy Rich Asians. “Maybe it’s the end point of representation—you simply want the opportunity to be as heroic, or funny, or petty, or goofy, or boring as everyone else.”