“That tension—between everything mattering so much and nothing mattering at all—is probably the through line of the collection…. The speed with which I can move from obsessing over ass-puckering, invisible minutiae (removing italic formatting from spaces in a Word document, for instance) and wanting to chuck the whole enterprise of civilization into a bonfire (see “Original Syntax”) is remarkable.” I read an advanced copy of Elizabeth Zaleski’s The Trouble With Loving Poets and Other Essays on Failure based on a single newsletter sent out from her publisher at Belt, Anne Trubek. It’s a delight to pick up a book by a writer totally unknown to you and finish it in a single day. (And hey, we both hail from rural Ohio and love Tim Kreider, so I was primed to like her!)
On director Rian Johnson’s website, he’s posted many of the scripts for his movies. This seems like it would be a treasure trove to an aspiring filmmaker — the script for Wake Up Dead Man is “the final shooting script, so it has stuff that was cut and moved around.” (And speaking of directors with websites: I missed that Steven Soderbergh posted his Seen, Read list for 2025.)
“Freewriting does involve relaxation, but it’s not the relaxation of lassitude or passivity. It’s more a matter of getting out of action’s way, so that your whole self, no longer so constrained by your controlling ego, can bring forth the most of which it’s capable.” Oliver Burkeman on the freewriting way of life.
RIP legendary reggae drummer Sly Dunbar, who along with his bass-playing partner, Robbie Shakespeare, “backed nearly every reggae artist of note and collaborated with an array of admirers.” They played on so many great tracks! And tons of stuff I didn’t know about — I had no idea they played on Bob Dylan’s “Jokerman,” for example. (Grace Jones’ “Private Life” would’ve been great on