Scientists Fed 1,700 Novels Into Their Computers And Boiled Down Our Literature Into Six Basic Story Arcs

“Their method is straightforward. The idea behind sentiment analysis is that words have a positive or negative emotional impact. So words can be a measure of the emotional valence of the text and how it changes from moment to moment. So measuring the shape of the story arc is simply a question of assessing the emotional polarity of a story at each instant and how it changes.”

Who Gets Garcia Lorca’s Papers?

“The legacy of Federico García Lorca’s hostilities with government lives on these days through his family, whose members are tangling with officials over control of a new $25 million center built to honor García Lorca, the playwright and poet who was executed by firing squad during the Spanish Civil War.”

The Small-Picture Problems That Add Up To Existential Crises

“Cheryl Strayed is really interesting. She’s very sure of herself, confident, a very healthy enlightened person. I am much more of a wreck that she is. I think both have a lot of wisdom to share, but her style is different because I think she’s had her shit together for much longer than I have, frankly. For example, I wouldn’t dream of camping alone under any circumstances. I’m a chickenshit. Our biology is different. I would not walk that far. Without Cheetos.”

Samuel Beckett, Master Of The Short Story

Chris Power: “It is an irony of Beckett’s posthumous reputation that his plays are now far better known than his prose, although he considered the latter his primary focus. … I suspect the real problem with Beckett’s short fiction is its difficulty, and that his greatest achievements in the form do not comply with what some gatekeepers suppose to be the genre’s defining traits.”

How William Shawn Built The New Yorker Into A Literary Institution

“The sheer proliferation of advertising demanded that Shawn scramble in search of more and more editorial matter. This, he found, had an inevitable drag on quality. There is, in this world, after all, only so much talent at a given time—only so much good writing. At a certain point, he found it necessary to limit the pages in a weekly issue to 248—as fat as a phone book in some towns. In his tenure as editor, Shawn made innumerable hires, tried out countless freelancers, and ran long, multipart series—some forgettable, some central to the literary and journalistic history of mid-century America.”