At the close of Coates’ recent interview with Chris Hayes, the host asks him if he’s working on a new book. The dodge Coates gives, not wanting to discuss a project-in-process, ends up being a terrific toast to the necessity of sharp, tough early readers and editors:
I do, I do have a writing project and I love you people so much, let me tell you how much I love you. I was due on this writing project two weeks ago, it was like two weeks ago and yet I'm here with you. How much love is in my heart? Here I am. I do, man and I do and what I'll say is, I love it and it's the hardest thing ever. Writing is so ... I want to talk really, I don't know if they're people who want to be writers, who are writers in the building. But I just want to talk really quickly about that process. And about specifically working with [my editor] Chris [Jackson], who is magnificent. I give him shit all the time but he's actually magnificent, best editor and publisher, excuse me, make sure I get his title right.
I have a note that one day, we should have put it in "We Were Eight Years in Power," and the note is, I wrote "Between the World and Me" four times. And every time I would submit a draft to Chris and he'd be like, "Hmm, I don't know. I don't know, I don't know." Basically, I had to go and rewrite before we even got to the level of actual line by line editing. So he sent me a note after what must have been the second or third draft. And it's just like 2,000 words about why this does not work. And it was so depressing. I remember getting it at the time, I think you have to understand about "Between the World and Me" is, it's a book that came out of my head. I had artistic inspiration in the sense of James Baldwin, the fact that I had been working through the death of my friend for 14 years at that point.
I had the fact of a black president which was sort of swirling around but I didn't know what that was. Even the idea of a letter came at the very end of the actual process of us working together. And man, I got that note from Chris, 'cause every time you're like, "Okay, I think this is it, I think I got it, I think I got it." And it's go again, go again. And I feel like at that point, I was well-known enough and this is how the industry works. Somebody would have published that draft. It's an inferior draft, it's not the same book. And this is, I've been blessed because this is actually the relationship we have even on this book, man. I turned in a draft about this time last year. Oh, I'm done, we're gonna go to line edits. And Chris took forever to read it as is his way.
But when he did, he wrote, he did a little bit of line edit but he came over to the house and he talked to me about it and it was clear that I had to rewrite the whole thing. This is my third time, I've been writing this book for 10 years, this is my third time rewriting it. But he's not gonna let me embarrass myself. You understand? I think I'm good as a writer, but I actually have much more confidence in the people around me because the people around me, they just gonna tell me, "It's not time. It's not time, don't embarrass yourself." I think a lot of writers, listen, I think talent is really important but I think what I have been blessed with, from the time I was in my mom and my dad's house, you know what I mean? From the period of working for David Carr. From the period when James Bennett ran The Atlantic. I had hard people around me. You know who just pushed. Do it again, go again, go again, go again, go again.
So if you like what you see, and this is why I'm always a little uncomfortable with this, what you are seeing is not some innate thing. What you are seeing is, go again, go again, go again. And that's the spirit I think of certainly good writing and any writing that hopes to be great. The bleeding on the page. And then bleeding again and again. I just tell him this all the time, I'm thankful to have a reader like that who push you in that sort of way.
“Will Oldham: Unmasked” — For GQ, Alex Pappademas gets unusual access to one of my favorite songwriters.
From a substantive new interview with Joshua Rothman:
I had felt for many, many years that the form of the novel, as I used it, created a distance from life. When I started to write about myself, that distance disappeared. If you write about your life, as it is to yourself, every mundane detail is somehow of interest—it doesn’t have to be motivated by plot or character. That was my only reason for writing about myself. It wasn’t because I found myself interesting, it wasn’t because I had experienced something I thought was important and worth sharing, it wasn’t because I couldn’t resist my narcissistic impulses. It was because it gave my writing a more direct access to the world around me. And then, at some point, I started to look at the main character—myself—as a kind of place where emotions, thoughts, and images passed through.
Finished season one. Stopped midway through, for its sourness, then continued through the finale. Moneyed, nasty fun that leaves a lousy aftertaste. Great performances. Nicholas Braun as Cousin Greg steals every scene he’s in.
Finished season one of “Succession." Stopped midway through, for its sourness, then continued through the finale. Moneyed, nasty fun that leaves a lousy aftertaste. Great performances. Nicholas Braun as Cousin Greg steals every scene he’s in.
“A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.”
Hadn’t seen this Camus quote before. (It appropriately closed a new profile on Sam Mendes in TNY.)
Nathanial Rich’s whole-issue article in the NYT Magazine. I read it in one punch-in-the-gut gulp on a car trip unusually free of kids and other responsibilities. Can’t recommend it more highly.
Our house suddenly feels warmer with the recent arrival of this 1963 Wurlitzer Spinet. Props to the kind folks at [http://www.jacksonpianos.com](Jackson Pianos).
That’s how code happens in 2018. The process used to be the sort of thing people did in slow and ad hoc ways, a few times a year, and only after a lot of infighting over email. Now the same process might happen 10 times a day, and the infighting is right there in the pull requests. Hundreds of people might be working on one code thing or 10 people on 100 code things. GitHub makes that doable. I can’t imagine life without it. I’d much rather tell a newbie to get a GitHub account than suggest she read the git manual. If all companies are becoming software companies, GitHub is a primary enabler.
A truly fun aspect of Microsoft’s acquisition of GitHub is that it was announced before Apple Inc.’s Worldwide Developers Conference. This is like when Passover overlaps with Easter in New York City. The WWDC, sacred nerd summit of Appledom, is where they announce things like a new “night mode” for the operating system and try to convince programmers that Apple Watch matters. But GitHub is nerd infrastructure. Huge portions of modern culture—Google’s TensorFlow machine-learning software, for instance, and even other programming languages, such as Mozilla’s Rust—run on code managed there. For Microsoft to trot this out during WWDC is a real thunder-stealer. It’s nice to see global-platform capitalism played with a little verve.
Ford is one of the most consistently entertaining and informed writers on technology — from the inside out. A former Harper’s staffer, he’s also one of the few writers who can casually and believably drop a Borges reference in a deep-tech piece. (Note: I also dig his podcast.)
On this Father's Day, here are four terrific recent pieces I've been lucky to come across — two very short essays, two short poems — that capture this part of life so well:
Leadership St. Louis is a highly respected program for established and emerging leaders who have demonstrated a deep commitment to improving the St. Louis region. The 9-month curriculum explores such issues as economic development, racial equity, education, poverty and social services, arts and culture, and the criminal justice system. Participants visit key sites in the bi-state region, engage in face-to-face dialogue with regional decision makers and gain a deeper understanding of leadership approaches that produce results.
I'm impressed with those I've heard from who have completed the program, as well the fellow participants I met at last week's orientation. Should be an exciting nine months.
The Longform Podcast's new episode with Elif Batuman is fantastic. I've enjoyed her writing for a few years, and in this interview you can just feel her thinking deeply about literature and writing and gender and observing in cities around the world and much more. As interviewer Max Linsky tweeted when sharing the link: "Genuinely, this is the most fun I have had in a long time. It was so fun, in fact, that at one point I stopped and said 'Wow I’m just very happy to be sitting here with you! This is so fun!' And then Elif was very gracious with me and then she said a bunch more brilliant things." It's true.
I also loved Design Observer's new episode with Aminatou Sow. She was new to me, and I'm clearly late to the game. On being late, though: Really enjoyed Sow's skepticism of the tech press's focus on the young (who wants to peak at 28?), vs. her interest in longevity; she's long thought the ideal age is 63 .
I don't think I've ever been more moved by an audio story than I was listening to this two-part podcast episode called "The Choice":
In April of 1992, Nada Rothbart was living happily in Sarajevo, Bosnia, with her husband and two young sons–till the night the Bosnian Civil War broke out on the street in front of her home. By the time they recognized what was happening–it was too late; Nada was trapped with her children, surrounded by tanks and snipers. After 60 days with almost no food, no water, and no power, a surprise ceasefire was announced. Nada put on her shoes, grabbed her children, and walked out the door.
That's just the beginning of this remarkable, harrowing story that contains both the worst and best of what's possible in life. Part 1: online or iTunes. Part 2: online or iTunes. (H/T to Snap Judgement, where I first heard episode 1.)
