The British Library has paid £32,000 for poet Wendy Cope‘s email archive. A far cry from stacks of personal letters, but seemingly the natural progression of things. According to Cope herself, many of the emails “are not interesting at all”. (via @BookBench)
What if the next crisis to hit the headlines brings an end to the world as we know it? It’s a mind-bending thing to contemplate, but it’s what our own Emily St. John Mandel tackles in Station Eleven, which made it up to the final five of last year’s National Book Awards. On a new episode of The Takeaway, Emily talks about the novel, exploring what’s left when civilization withers away. You could also read our interview with Emily about the book.
"Our literary culture has distended and warped by focusing so much power in a singular place, by crowding the gatekeepers into a small ditch of commerce. A review in the Times trumps everything else. You can’t tell me that this doesn’t affect what is, finally, bound into books, marketed, and sold. Which designates what can be said and how one says it. Why do we cede American letters to a handful of corporations that exist on a single concrete patch?" This piece by Matthew Neill Null at The Literary Hub raises a lot of extremely important questions about what gets published and why.
NY Press has a long look at the history of iconoclastic indie press Soft Skull, which recently shuttered its New York office, effectively ending the publisher's run as a standalone press and making it just an imprint of California-based parent (and, it should be noted, rescuer from financial straights) Counterpoint. Incidentally, I've had a front row seat for all this, as, for the book I'm co-editing, I was initially working with the good folks in New York and then everything was suddenly (and thankfully without a hitch) transferred to the folks in Berkeley. (Thanks, Craig)
At the Guardian, Brian Dillon writes about great creative minds who had fertile imaginations for the maladies that befell them.