Pynchon Defends McEwan
#Beowulf
Medievalist Elaine Treharne teaches a course on Beowulf at Stanford, and one of her primary theoretical questions for her students is, “What is (the) Text? … What constitutes Beowulf?” So she got to thinking. She wondered what she and her students would do “with a social media version of the poem.” What ensued is a distillation of the great epic in 100 tweets, which you can read over here.
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If You Have to Ask
“It’s like a massive piece of denim, and with that denim you can make something really cool. You can make a jacket, you can make some cool jeans, or you can make a cushion or a cover.” When The New York Times decides it wants to define “punk,” you’d better get ready for some cringe-worthy responses. Here’s a Millions piece on Viv Albertine, author of Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys and no stranger to punk rock.
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Talk About a Wonder Emporium
“This Is My Home” is a short profile of a New York City collector of oddities. His home is regularly mistaken for an antique shop, but it really strikes me as the perfect sister-store to Brazenhead Books.
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Ruchama King Feuerman on Tour
In celebration of Jewish Book Month, Ruchama King Feuerman—featured at Bloom in January—will go on tour to read & discuss her novel In the Courtyard of the Kabbalist. The tour kicks off today at the Evelyn Rubenstein Jewish Book & Arts Fair in Houston; check NYRB’s event page for more upcoming appearances.
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The Written World
The Written World is a five part radio series put together by Melyvn Bragg as part of the In Our Time BBC radio project. The programs look at the history of written word, and how it has shaped our intellectual history.
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Junot Díaz Cover Art
Junot Díaz’s forthcoming collection This is How You Lose Her now has cover art. It appears to be video game inspired.
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What’s “Appropriate”
We’ve been following the YA debate quite attentively – I wrote about it just last week – but Sarah Burnes‘s addition to the conversation, a blog post for The Paris Review, is one of the most eloquent I’ve read. In defense of reading YA fiction as a “grown-up” she writes, “The binary between children’s and adult fiction is a false one, based on a limited conception of the self. I have not ceased to be the person I was when I was an adolescent; in fact, to think so seems to me like a kind of dissociation from a crucial aspect of one’s self. And the critic should be concerned with what is good and what is bad, what is art and what is not—not with what’s ‘appropriate.'”