“The real bittersweet aspect is young adulthood begins with all this time for friendship, and friendship just having this exuberant, profound importance for figuring out who you are and what’s next,” Rawlins says. “And you find at the end of young adulthood, now you don’t have time for the very people who helped you make all these decisions.

How Friendships Change When You Become an Adult

Back to the Future and creative frustration

The passage of time makes the whole trilogy seem wise and humble, in ways it never could seem in the eighties or nineties or aughts, because the entire thing is really and truly a time capsule—not of any temporal-physical reality, but of a particular strain of American cultural posturing circa 1985-1990. All movies, particularly time-travel movies, have a touch of this. But the “Future” films are different because, unlike the vast majority of time travel stories, they are anchored very strongly in the “present.” The present is not merely a framing device or a launching pad for adventures, as is the case in most time travel films. All visits to the past or future are related to the present – and the stakes are not just personal (Marty’s existence, his parents’ happiness), they are cultural. Marty doesn’t just change his family, he changes the town, and by implication, American life.

"Back to the Future" is now all back and no future | MZS | Roger Ebert

The ability on a camera-laden set to inhabit a character without a twitch of distraction or preoccupation or visible hint of the internally or externally irrelevant is a scary but brilliant feat. Ordinary people cannot do it. But I have seen great actors do it even at cocktail receptions full of cell phones. In a world where major writers have announced that they cannot focus on their work without extracting or blocking the modems in their laptops, this kind of thespian concentration is worth noting. (One thinks of the writer Anne Lamott’s remark on her own maturing undistractibility: “I used to not be able to work if there were dishes in the sink,” she has said. “Then I had a child and now I can work if there is a corpse in the sink.”)

Sympathy for the Devil by Lorrie Moore

George Saunders is a gem.

There’s this theory that self-esteem has to do with getting confirmation from the outside world that our perceptions are fundamentally accurate. What Doug does at this meeting is increase my self-esteem by confirming that my perception of the work I’d been doing is fundamentally accurate. The work I’ve been doing is bad. Or, worse: it’s blah. This is uplifting–liberating, even—to have my unspoken opinion of my work confirmed. I don’t have to pretend bad is good. This frees me to leave it behind and move on and try to do something better.

My Writing Education: A Time Line - The New Yorker

The trend for digital detox holidays and other fashionable manifestations of spare, minimalist, decluttered living: what if they’re at least partly motivated by avoidance?

Why cabin fantasies shut out reality