NPR’s Terry Gross remembers Vic Chesnutt with Michael Stipe and Fugazi’s Guy Picciotto. Chesnutt, one of the musical gems to emerge from indie-rock mecca Athens, Georgia, in the past twenty years, died on Christmas day.
After more than sixty years, Antonio di Benedetto has had his book Zama finally translated into English. The novel, which kicks off in the 1790s, depicts a Spanish administrator named Don Diego de Zama, whose viceroy dispatches him to a town in the scrublands of Paraguay. In the latest New Yorker, Benjamin Kunkel gives his take.
We all probably had the humiliating experience of reciting a poem in high school. Yet at Salon, Nina Kang believes that memorizing poetry is a lost art. She blames the loss of the discipline on our tendency to skim and new poetry’s seeming aversion to memorization. “Writers actively fight against the appearance of artifice, and often instead strive for an informal, offhand tone, with that hint of clumsiness that lends a certain authenticity to the voice. It turns out this is a quality that makes the reciter’s job that much more difficulty.” Here’s our take on the lost art of recitation.
Now is as good a time as there ever will be to go and check out the Art Institute of Chicago. A new exhibit, “Invisible Man: Gordon Parks and Ralph Ellison in Harlem,” combines the photography of Parks, who eventually went on to gain a measure of fame in the ’70s as a Hollywood movie director, and the writing of Ralph Ellison, in an attempt to offer a portrait of Harlem in the post-World War II years.
“I began to wonder: what would a manifesto for bad poetry look like? Would it differ either superficially or deeply from the art’s graver manifestos? It really wouldn’t have to. It would merely have to persuade, and persuasion sounds very much the same whether it is honest or dishonest. If it was any good it would hold great attractiveness as a snappy piece of writing, but, if followed, it would be certain to produce bad poetry. Some harmless sophistry. In this it would be more effective than any positive manifesto, because, if guided well, no-one who sets out to write a bad poem is going to accidentally write an excellent one.” Erik Kennedy lays out a manifesto for bad poetry, titled “Precepts for Perfection in Poetry,” for The Rumpus. For a counterpoint, pair with our own Nick Ripatrazone‘s look at very good and very sad poetry, “The Saddest Poem Ever Written.”