<?xml version="1.0" encoding="UTF-8" standalone="yes"?><oembed><version><![CDATA[1.0]]></version><provider_name><![CDATA[The Dish]]></provider_name><provider_url><![CDATA[http://dish.andrewsullivan.com]]></provider_url><author_name><![CDATA[Andrew Sullivan]]></author_name><author_url><![CDATA[https://dish.andrewsullivan.com/author/sullydish/]]></author_url><title><![CDATA[Writing On Uppers &#8211; And&nbsp;Downers]]></title><type><![CDATA[link]]></type><html><![CDATA[<p>In a beautiful essay, Rivka Galchen <a href="http://www.powells.com/review/2010_09_17.html?utm_source=overview&amp;utm_medium=rss&amp;utm_campaign=rss_overview&amp;utm_content=The%20Microscripts&amp;PID=18" target="_self">reviews</a> Robert Walser&#39;s <a href="http://www.powells.com/cgi-bin/biblio?inkey=71-9780811218801-0" target="_self">The Microscripts</a>. Walser is famous for writing &quot;many of his manuscripts in a highly enigmatic, shrunken-down form&quot;:</p> <blockquote> <p>Let&#39;s lie and say there are only two kinds of writers I like, the caffeinated and the sleepy. Balzac exemplifies the caffeinated. He drank coffee to the point of a trembling hand -- something like thirty cups a day -- and then he&#39;d masturbate to the very edge of orgasm, but not over, and that state -- agitated, excited to the point of near madness -- was Balzac&#39;s sweet spot, in terms of composing. Then there&#39;s the sleepy: De Quincey with his opium, Milton waking up his red-slippered daughters to take down verses that had come to him in a dream.</p> </blockquote>]]></html></oembed>