The primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid; the state of being alone.
In Publishers Weekly Rachel Deahl writes about that odd category of writers, in Ghostwriters Come out of the Shadows.
They still seem pretty much in the shadows, even per this account -- even if:
The rise of the term collaborator within publishing speaks to the respect ghostwriters command from others working behind the scenes. As one industry insider, who spoke on the condition of anonymity, put it, the term ghostwriter “implies subterfuge,” which they called “problematic.” The work is, they went on, totally “above board” and there’s “no reason to hide it.” (Apparently 'collaborator' doesn't have ... connotations ? Also: if you have to hide behind anonymity for this kind of remark, what does that say ?)
Well, as always, publishing remains a very odd industry, with many odd practices.
The editors of The New York Times Book Review have released their 100 Notable Books of 2021 list. (Recall that this list is selected from the titles reviewed (or soon-to-be-reviewed) in the NYTBR -- a decent-sized pool of books, but far from all the worthy ones out there.)
In her recent book, New York Times Book Review editor Pamela Paul catalogs some of the things we have lost because of our move to networked digital realms over the past 25 years.
Whatever our emotional response to this departed realm, we are faced with the fact that nearly every aspect of modern life now takes place in filtered, isolated corners of cyberspace — a space that has slowly subsumed our physical habitats, replacing or transforming the office, our local library, a favorite bar, the movie theater, and the coffee shop where people met one another’s gaze from across the room. Even as we’ve gained the ability to gather without leaving our house, many of the fundamentally human experiences that have sustained us have disappeared.