You may have heard that Glenn Beck, sower of anxiety about Obamanomics, is also a shill for gold coin dealer Goldline. But here’s a conspiracy theory for you: Does Glenn Beck also have a stake in the modish French theoretical organ Semiotext(e)? The truth is out there, people.
“When I want to be ambushed, captured, thrust into a strange and vivid world, and tossed aloft until I cannot stand it, until everything is at stake and life feels almost unbearably vivid, I do something simple. I read short stories.” Electric Literature has posted Ben Marcus‘s “paean to the contemporary American short story,” which doubles as the introduction to New American Stories and does a pretty good job of capturing just what it is we love about reading fiction.
Another big week for books is headlined by Michael Chabon’s Telegraph Avenue (the book’s opening lines) and Junot Díaz’s This Is How You Lose Her. Also out are Susan Straight’s Between Heaven and Here, touted debuts The People of Forever Are Not Afraid by Shani Boianjiu and The Yellow Birds by Kevin Powers, How Music Works by Talking Heads frontman David Byrne, and Bob Woodward’s latest Beltway tick-tock The Price of Politics.
Is “literary” fiction just a product of clever marketing? Elizabeth Edmondson thinks it is. At The Guardian, she argues that classically literary authors like Jane Austen had no idea they were writing Literature — posterity classified their work as such later on. Her essay dovetails nicely with our own Edan Lepucki’s argument that literature is a genre.
James Salter reviews Paul Hendrickson‘s Hemingway’s Boat for The New York Review of Books. Relatedly, Helena Price has been using 1000memories to compile “memory pages” to “explore the life of Ernest Hemingway as well as his friends and family.” Of particular note is this poster imploring us to “Live the HemingWAY.” Also related, The Paris Review shares a letter from Papa to his sister Ursala Hemingway.
Riffing on R&B singer Ernie K-Doe’s one-time statement, Chris Rose writes in the Oxford American, “I’m almost positive that all music, at least all American music, comes from Louisiana.” The essay appears in this year’s OA Southern Music Issue, a reliably excellent source of tunes and writing. Indeed, as Dwight Garner put it in The New York Times, the CDs that accompany each annual issue “practically belong in the Smithsonian.”