On Bloomsday, Joshua Cohen highlights Joyce’s heirs around the world.
Another hip-hip for long-form journalism. George Packer‘s piece in the New Yorker on Richard Holbrooke and the Af-Pak War reminds one that some things — complicated geopolitical matters, for example — must be explored at length. Subscribers can read the full article in the digital edition here. Short of that, read Packer’s assessment of the McChrystal Report on his blog.
In May, poet David Lehman wrote the first line of a sonnet about cubicle anomie and began crowdsourcing the rest. The completed 12-week project at The American Scholar is not merely a pretty great piece on its own, but a lesson in how to write one, line by line: 2, 3, 4, 5, 6, 7, 8/9, 10, 11, 12, 13, 14. You can submit your title suggestion as late as midnight on Sunday, but we suggest getting a start on it now, while the prison of work is still fresh in mind. (h/t The New York Times)
Excerpts from Anthony Michael Morena’s The Voyager Record: A Transmission are now available online in Ninth Letter. Morena combines flash fiction and prose poetry in his record of the phonograph record that was included on the Voyager spacecrafts. The record plated with gold contained 27 songs, 118 images, and greetings in 55 languages, and was meant to summarize all life on Earth for the extraterrestrials.
A new anthology out from Da Capo Press, Bound to Last: 30 Writers on Their Most Cherished Book, includes an essay by David Foster Wallace’s widow, Karen Green, on how books helped her cope with his death: “I’ll try not to use the word survive. I think I’ve determined, by trial and error, that certain underlined, highlighted, and dog-eared books, in conjunction with pharmaceuticals, are beneficial after a trauma. What was it the realtor called it? ‘The Incident.’ Books can be helpful after an Incident.” (Thanks, Diavanna)
Does modern China need its own literary sub-genre? On trying to understand China’s “ultra-unreal” reality: “If Magic Realism was the way in which Latin American authors presented their view of their reality, then Ultra-Unreal Realism should be our name for the literature through which the Chinese regard their reality. The Chinese word ‘chaohuan’ (ultra-unreal) is something of a play on the word ‘mohuan’ (magic), as in ‘mohuan xianshizhuyi’ (magic realism)— ‘mohuan’ is ‘magical unreal,’ and ‘chaohuan’ is ‘surpassing the unreal.’”