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Tuesday, Feb 15, 2000 5:00 PM UTC2000-02-15T17:00:00Zl, M j, Y g:i A T

Can men and women truly be friends?

My therapist thinks my male pal dumped me because he has the hots for me. Do I need to worry about my other guy pals now?

Feb. 15, 2000

Dear Mr. Blue,

A couple of months ago I got dumped by an old male pal of mine.
Silently. He just vanished, no fights, no discussions. He is a courtly,
warmhearted, principled guy who I’ve known for 10 years, a confidant.
My therapist thinks I was a romantic fantasy for him and he had to let go.
That, even in platonic relationships, men are more motivated by sexuality
than women are. Frankly, this didn’t occur to me. Now I’m looking at my
other guy pals, wondering if this person will betray me too? Is it possible
that when you get right down to it, men and women truly can’t be friends?

Hurting

Dear Hurting,

Unless the men are gay there is usually some sexual
undertone to friendship with women. Normally it remains subterranean,
the man himself unaware of it, so it’s no problem, but any buried feelings
can come to the fore, and perhaps your old pal got confused by his
feelings. Or maybe he is just depressed, or is going through a crisis that
leads him to want seclusion. Your therapist’s interpretation is the $21 one,
and sometimes the truth is down in the $3 to $10 range. Don’t worry about
your guy friends, based on your therapist’s theorizing. Friendships
between women go through ups and downs too. Men and women can be
true friends, and then sometimes some of them can’t.

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Garrison Keillor is the author of the Lake Wobegon novel "Liberty" (Viking) and the creator and host of the nationally syndicated radio show "A Prairie Home Companion," broadcast on more than 500 public radio stations nationwide. For more columns by Keillor, visit his column archive.  More Garrison Keillor

Friday, Feb 17, 2012 11:42 PM UTC2012-02-17T23:42:00Zl, M j, Y g:i A T

Anthony Shadid yearned for home

In a soon-to-be published memoir the fallen war reporter told the story of rebuilding his grandmother's house.

Anthony Shadid

Anthony Shadid  (Credit: AP)

Anthony’s Shadid’s now unbearably poignant book, “House of Stone,” opens with a scene of carnage that will be familiar to anyone who read his coverage of the wars of  the Middle East. As a reporter for the Washington Post in the summer of 2006, he arrived in the devastated Lebanese town of Qana to find that “Israeli bombs caught their victims in the midst of a morning’s work … the dead standing, sitting looking around, the village, its voices and stories, plate and bowls, letters and words, its history, obliterated in a few extended moments” of indiscriminate violence perpetrated by America’s favorite ally. As he wandered amid the devastation, he found a man mourning the death of his wife and five children. “‘I wish God would have left me with just one child,’ said the bereft former father.”

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Jefferson Morley is the Washington editor of Salon and author of the forthcoming book, Snow-Storm in August: Washington City, Francis Scott Key, and the Forgotten Race Riot of 1835 (Nan Talese/Doubleday).  More Jefferson Morley

Sunday, Feb 12, 2012 2:00 PM UTC2012-02-12T14:00:00Zl, M j, Y g:i A T

Is gay literature over?

In an era of same-sex marriage and "Modern Family," the role of gay writers is changing. An expert explains how

Gore Vidal, Tony Kushner and James Baldwin

Gore Vidal, Tony Kushner and James Baldwin  (Credit: Library of Congress/Carl Van Vechten/Reuters/Phil McCarten/Miami Dade College)

Gay life in America has utterly transformed itself since World War II. In the 1950s, homosexuality was a crime. Now, openly gay people are everywhere in popular culture, gay kids are coming out as early as elementary school and we can get even get married in a half-dozen states (including, soon, Washington). One of the most crucial, but least-talked about, reasons for this change is gay literature. Starting in the 1940s, a coterie of bold writers — Gore Vidal, James Baldwin, Armistead Maupin and Tony Kushner, among many others — played a central role in creating what we now think of as gay life. Their words gave voice to a segment of the American population that, for much of its history, was hidden away.

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Thomas Rogers is Salon's deputy arts editor.   More Thomas Rogers

Thursday, Dec 29, 2011 9:00 PM UTC2011-12-29T21:00:00Zl, M j, Y g:i A T

Spoiler alert! What makes a great ending?

Books with terrific conclusions are hard to find, but they're even harder to talk about

the end final

The endings of novels are, in their own way, as crucial as the endings of years, but they are much less discussed. Any bibliophile can rattle off at least a handful of famous first lines (“It was the best of times, it was the worst of times…;” “It is a truth universally acknowledged…; ” “It was a bright cold day in April, and the clocks were striking thirteen,” and so on), but ask someone to quote a memorable closer and chances are all they can come up with is F. Scott Fitzgerald’s “So we beat on, boats against the current, borne back ceaselessly into the past” (from “The Great Gatsby”) or James Joyce’s rhapsodic “…and yes I said yes I will Yes.”

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.comMore Laura Miller

Thursday, Dec 15, 2011 1:00 AM UTC2011-12-15T01:00:00Zl, M j, Y g:i A T

Writing class from hell

As "Seminar" hits Broadway, novelist Ben Marcus judges the tyrannical writing teachers of stage and screen

Alan Rickman

Alan Rickman appears at the curtain call for the opening night performance of the Broadway play "Seminar," on Nov. 20, 2011.  (Credit: AP/Charles Sykes)

“Seminar,” a play starring Alan Rickman as a preening, acid-tongued teacher running roughshod over a group of tender aspiring writers, opened a few weeks ago on Broadway. Reviews have prompted all the usual observations about the difficulty of dramatizing both writing and reading, activities so internally momentous yet so physically inert. Why, then, do people keep doing it? And do the depictions of writing classes in stage, film and television — from “Wonder Boys” to “Bored to Death” — bear any relationship to real life?

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Laura Miller

Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.comMore Laura Miller

Sunday, Nov 27, 2011 1:00 AM UTC2011-11-27T01:00:00Zl, M j, Y g:i A T

How my book became part of the “satanic sex stabbing”

My werewolf guide was found at the scene of a gruesome crime, but what chilled me was the media panic that followed

My book became part of a satanic sex stabbing

Left, Rebecca Chandler (left) and right, Raven "Scarlett" Larrabee  (Credit: thesmokinggun.com)

On the night I heard about my connection to a “satanic sex ritual stabbing,” I had just finished the dishes with my wife. It was about 10 p.m. on a Wednesday, my 2-year-old daughter was asleep in bed, and I was in the living room, casually catching up on email. “I assume you’ve seen this,” a friend wrote. The link took me to a headline on Gawker.com:

“Satanic Sex Ritual Threesome Not as Awesome as It Sounds.”

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Ritch Duncan is a writer and comedian living in New York City. Manageable samples of his vast body of work can be found at twitter.com/ritchiedMore Ritch Duncan

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