This one goes out to all you procrastinators out there. A woman in Auckland, New Zealand has just returned a library book (Myths and Legends of Maoriland) a cool sixty-seven years late–she had "been meaning to return it" for decades. Hopefully she didn't leave any boogers.
Recommended Reading: Meryl Cates of The Paris Review gets Millayed in Edna St. Vincent Millay’s gardens at Steepletop, the New England-style farmhouse where the Pulitzer Prize-winning poet worked and played. Pair with this essay from The Millions on reading writers’ houses.
"One thing that could have made this story end differently is if the United States had a significant cultural policy. We have a trade policy – we protect industries we value – and we have an anti-trust policy designed to protect consumers. We have arts and humanities endowments that assist institutions. But our cultural policy is mostly to let culture fend for itself in the open market. It works great, but sometimes it doesn’t." Salon looks at what Amazon, the Penguin-Random House merger, and the imposition of capitalism to culture might mean for literature at large.
This week in the New Yorker Jane Hu analyzes the "dispassionate first-person narrators" prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works. "Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian."