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10 Cases of Extreme Writer's Block

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Unlike the plumber or the podiatrist, for whom every day brings another batch of toilets or feet (respectively) to fix, the writer can't always guarantee he or she will wake up with something to say. Terrifyingly, even for the world's most accomplished and prolific writers, the words can just stop coming (or, alternately, come in jumbled, unpublishable torrents) for decades. Here are some of the most extreme cases of the little-understood affliction known as writer's block.

1. Samuel Taylor Coleridge 

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Coleridge produced his best-known work in his mid-twenties, and spent the rest of his life taking opium and bemoaning the loss of his gift; as he wrote in his notebook in 1804, at the age of 32, "so completely has a whole year passed, with scarcely the fruits of a month.—O Sorrow and Shame … I have done nothing!” 

2. Joseph Mitchell 

With his longform New Yorker pieces of the '40s and '50s, Joseph Mitchell established himself as one of the finest non-fiction writers of the 20th century. He was the sensitive, sympathetic chronicler of New York City's oddballs and outcasts, and he found his ultimate subject in the person of Joe Gould. Gould was a garrulous, self-aggrandizing mainstay of the old West Village bohemian scene, who for decades had claimed to be composing an Oral History of the Contemporary World. As Mitchell would reveal with some sadness in his masterpiece Joe Gould's Secret, no such book existed. Gould's famous notebooks contained nothing but records of his baths, his meals, and other mundane personal details, compulsively written and rewritten. The same fate seemed to befall Mitchell: He continued coming into the office for more than three decades following the publication of Joe Gould's Secret, and was regularly seen to be working on something, but he never again published anything. As he told the Washington Post in 1992, "talking to Joe Gould all those years he became me in a way." 

3. Truman Capote 

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In the last years of his life, Truman Capote spoke frequently of his in-the-works masterpiece, what was to be a cutting, expansive takedown of high society. But as Martin Amis put it in his review of the eventual work—published posthumously, in 1986, as Answered Prayers—"Capote spent the last ten years of his life pretending to write a novel that was never there." Far from the complex Proustian work Capote envisioned, Answered Prayers turned out to be not much more than four pieces previously published in Esquire. Those pieces, mocking the follies of Capote's ultra-rich associates, caused a scandal upon publication and led to Capote's banishment from high society. He's widely believed to have had a nervous breakdown in the aftermath, which might account for his inability to write any more of his alleged masterpiece. 

4. Harold Brodkey

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In 1991, Time magazine published an article with the headline "The 30-Year Writer's Block." Its subject was Harold Brodkey, the divisive New Yorker short story writer whose first novel was announced in the early 1960s and was just seeing publication, and then, only in part. He'd spent the three intervening decades struggling mightily to finish his book, in the process developing a reputation as someone who—in the words of critic Jay Parini—had made a whole career out of "the sound of one hand clapping." The book's gestation was so infamously, painfully protracted that some critics felt bad about criticizing it; as Newsweek wrote, "The Runaway Soul is absolutely the last book you want to say this about, but it could have used a rewrite."

5. Harper Lee 

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Harper Lee—a close friend of Capote's from childhood—will soon be publishing her second novel, Go Set a Watchman, at the age of 89. The book is a sequel of sorts to To Kill a Mockingbird, but it was written before it; no plans exist to publish any fiction she has written since 1960, assuming she's written any. For a time, at least, we know she was working on a follow-up. One of the major theories as to why no follow-up has appeared is, of course, writer's block; as she complained to a friend a few years after To Kill a Mockingbird's publication, "I've found I can't write ... I have about 300 personal friends who keep dropping in for a cup of coffee. I've tried getting up at six, but then all the six o'clock risers congregate."

6. Henry Roth 

Henry Roth's Call it Sleep is now a canonized classic of 20th-century immigrant fiction, but at the time of its release it didn't make much of an impact. Only when it was republished in 1964 did the world at large take notice. In the intervening years, Roth had published nothing, crippled by one of the most infamous cases of writer's block. Writing in The New Yorker in 2005, critic Jonathan Rosen wrote that "the reasons for Roth’s monumental block—which include but are not limited to Communism, Jewish self-loathing, incest, and depression—are ultimately as mysterious as the reasons for his art and are in some ways inseparable from them." His ending is one of the happier ones: He did eventually manage to start writing again, and his epic Mercy of a Rude Stream was published in four volumes throughout the 1990s to widespread acclaim. 

7. Ralph Ellison 

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Ellison's was a productive form of writer's block; according to one critic, it more closely resembled "chronic procrastination." Of course, both forms of book-delaying look the same to the average reader, who knows only that the next novel has not materialized. From the publication of Invisible Man, in 1952, to his death in 1994, Ellison assembled some 2,000 pages of notes towards his second novel. To Saul Bellow he wrote, in 1958, of having a “writer’s block as big as the Ritz.” In 1994, forty-two years after Invisible Man's publication, he was still claiming the book was "nearly completed." In the years since, two attempts to posthumously compress and polish his notes into novel-form have been published; the most recent, Three Days Before the Shooting..., came out in 2010.

8. David Foster Wallace

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Wallace, like Ellison, wasn't blocked per se. On the contrary, he wrote to Jonathan Franzen that he had "many many pages written," which he then "either tossed or put in a sealed box." But finishing is just as crucial to the writing process as starting, and in his final years Wallace seemed unable to make his mountains of material and research cohere. The sections he did manage to finish were assembled into 2011's posthumous The Pale King by his former editor Michael Pietsch, though we'll never know what the book might have looked like had Wallace lived to finish it. 

9. Stephen King 

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Given Stephen King's usual rate of production, you'd think "writer's block" for him would constitute a somewhat sluggish early morning at the laptop—5,000 words, say, instead of the usual 20,000. And yet apparently not even King is immune to the occasional drought. As he wrote in The Washington Post in 2006

There may be a stretch of weeks or months when it doesn't come at all; this is called writer's block. Some writers in the throes of writer's block think their muses have died, but I don't think that happens often; I think what happens is that the writers themselves sow the edges of their clearing with poison bait to keep their muses away, often without knowing they are doing it. 

In his book On Writing, he described one of the few times in his life he suffered from writer’s block. He was in college, and decided not to present his new novel Sword in the Darkness to the class. This led to a four-month period of not writing, drinking beer, and watching soap operas.

10. George R. R. Martin 

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Ask George R. R. Martin why Winds of Winter, the sixth installment of his Game of Thrones series, has yet to hit shelves, and he'll say it has nothing to do with writer's block. Speaking at the Santa Fe International Film Festival last fall, he said writer's block, 

isn't to blame here, it's distraction. In recent years, all of the work I've been doing creates problems because it creates distraction. Because the books and the show are so popular I have interviews to do constantly. I have travel plans constantly. It's like suddenly I get invited to travel to South Africa or Dubai, and who's passing up a free trip to Dubai?

It's possible he's actively engaging these distractions as a way of avoiding his writer's block; it's also possible he'd finish the book in a week, if he just turned down the occasional trip to Dubai. Until his next book is published, we're all free to speculate.

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15 Powerful Quotes From Margaret Atwood
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It turns out the woman behind such eerily prescient novels as The Handmaid’s Tale and Oryx and Crake is just as wise as her tales are haunting. Here are 15 of the most profound quips from author, activist, and Twitter enthusiast Margaret Atwood, who was born on this day in 1939.

1. On her personal philosophy

 “Optimism means better than reality; pessimism means worse than reality. I’m a realist.”

— From a 2004 interview with The Guardian

2. On the reality of being female

“Men often ask me, Why are your female characters so paranoid? It’s not paranoia. It’s recognition of their situation.”

— From a 1990 interview with The Paris Review

3. On limiting how her politics influence her characters

“You know the myth: Everybody had to fit into Procrustes’ bed and if they didn’t, he either stretched them or cut off their feet. I’m not interested in cutting the feet off my characters or stretching them to make them fit my certain point of view.”

— From a 1997 interview with Mother Jones

4. On so-called “pretty” works of literature

“I don’t know whether there are any really pretty novels … All of the motives a human being may have, which are mixed, that’s the novelists’ material. … We like to think of ourselves as really, really good people. But look in the mirror. Really look. Look at your own mixed motives. And then multiply that.”

— From a 2010 interview with The Progressive

5. On the artist’s relationship with her fans

“The artist doesn’t necessarily communicate. The artist evokes … [It] actually doesn’t matter what I feel. What matters is how the art makes you feel.”

— From a 2004 interview with The Guardian

6. On the challenges of writing non-fiction

“When I was young I believed that ‘nonfiction’ meant ‘true.’ But you read a history written in, say, 1920 and a history of the same events written in 1995 and they’re very different. There may not be one Truth—there may be several truths—but saying that is not to say that reality doesn’t exist.”

— From a 1997 interview with Mother Jones

7. On poetry

“The genesis of a poem for me is usually a cluster of words. The only good metaphor I can think of is a scientific one: dipping a thread into a supersaturated solution to induce crystal formation.”

— From a 1990 interview with The Paris Review

8. On being labeled an icon

“All these things set a standard of behavior that you don’t necessarily wish to live up to. If you’re put on a pedestal you’re supposed to behave like a pedestal type of person. Pedestals actually have a limited circumference. Not much room to move around.”

— From a 2013 interview with The Telegraph

9. On how we’re all born writers

“[Everyone] ‘writes’ in a way; that is, each person has a ‘story’—a personal narrative—which is constantly being replayed, revised, taken apart and put together again. The significant points in this narrative change as a person ages—what may have been tragedy at 20 is seen as comedy or nostalgia at 40.”

— From a 1990 interview with The Paris Review

10. On the oppression at the center of The Handmaid's Tale

“Nothing makes me more nervous than people who say, ‘It can’t happen here. Anything can happen anywhere, given the right circumstances.” 

— From a 2015 lecture to West Point cadets

11. On the discord between men and women

“‘Why do men feel threatened by women?’ I asked a male friend of mine. … ‘They’re afraid women will laugh at them,’ he said. ‘Undercut their world view.’ … Then I asked some women students in a poetry seminar I was giving, ‘Why do women feel threatened by men?’ ‘They’re afraid of being killed,’ they said.”

— From Atwood’s Second Words: Selected Critical Prose, 1960-1982

12. On the challenges of expressing oneself

“All writers feel struck by the limitations of language. All serious writers.”

— From a 1990 interview with The Paris Review

13. On selfies

“I say they should enjoy it while they can. You’ll be happy later to have taken pictures of yourself when you looked good. It’s human nature. And it does no good to puritanically say, ‘Oh, you shouldn’t be doing that,’ because people do.”

— From a 2013 interview with The Telegraph

14. On the value of popular kids' series (à la Harry Potter and Percy Jackson)

"It put a lot of kids onto reading; it made reading cool. I’m sure a lot of later adult book clubs came out of that experience. Let people begin where they are rather than pretending that they’re something else, or feeling that they should be something else."

— From a 2014 interview with The Huffington Post

15. On why even the bleakest post-apocalyptic novels are, deep down, full of hope

“Any novel is hopeful in that it presupposes a reader. It is, actually, a hopeful act just to write anything, really, because you’re assuming that someone will be around to [read] it.”

— From a 2011 interview with The Atlantic 

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China's New Tianjin Binhai Library is Breathtaking—and Full of Fake Books
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A massive new library in Tianjin, China, is gaining international fame among bibliophiles and design buffs alike. As Arch Daily reports, the five-story Tianjin Binhai Library has capacity for more than 1 million books, which visitors can read in a spiraling, modernist auditorium with floor-to-ceiling bookshelves.

Several years ago, municipal officials in Tianjin commissioned a team of Dutch and Japanese architects to design five new buildings, including the library, for a cultural center in the city’s Binhai district. A glass-covered public corridor connects these structures, but the Tianjin Binhai Library is still striking enough to stand out on its own.

The library’s main atrium could be compared to that of the Frank Lloyd Wright-designed Guggenheim Museum in New York City. But there's a catch: Its swirling bookshelves don’t actually hold thousands of books. Look closer, and you’ll notice that the shelves are printed with digital book images. About 200,000 real books are available in other rooms of the library, but the jaw-dropping main room is primarily intended for socialization and reading, according to Mashable.

The “shelves”—some of which can also serve as steps or seating—ascend upward, curving around a giant mirrored sphere. Together, these elements resemble a giant eye, prompting visitors to nickname the attraction “The Eye of Binhai,” reports Newsweek. In addition to its dramatic main auditorium, the 36,000-square-foot library also contains reading rooms, lounge areas, offices, and meeting spaces, and has two rooftop patios.

Following a three-year construction period, the Tianjin Binhai Library opened on October 1, 2017. Want to visit, but can’t afford a trip to China? Take a virtual tour by checking out the photos below.

A general view of the Tianjin Binhai Library
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People visiting China's Tianjin Binhai Library.
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A general view of China's Tianjin Binhai Library.
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A woman taking pictures at China's Tianjin Binhai Library.
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A man visiting China's Tianjin Binhai Library.
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A woman looking at books at China's Tianjin Binhai Library.
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A general view of China's Tianjin Binhai Library.
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People visiting China's Tianjin Binhai Library.
FRED DUFOUR/AFP/Getty Images

[h/t Newsweek]

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