Earlier this week, The Awl diligently compiled the initial instances of various profanities in the New Yorker over the years. Now those meticulous folks at the New Yorker have offered up a number of corrections, including a visual first.
“There’s no doubt that Life A User’s Manual takes an approach to depicting reality that is very different from the standard realist novel, which we have been conditioned to believe is the best and most-preferred way of representing our world…Though not without its enlightening aspects, this conversation has generally fallen into a simplistic dichotomy, where realist writing is described as giving us the real world of everyday life, and anything other than realist writing is seen as directing its energies toward a vague something that no one cares to define very well.” A look at Oulipo and its legacy from Lauren Elkin and Scott Esposito, who recently wrote an Oulipo-themed Year in Reading for us.
Over at The Guardian, Charlotte Jones takes issue with the recently announced sequel of Pride and Prejudice. The book by Terri Fleming will focus on the life of Mary Bennett, a character who is deliberately neglected by Jane Austen. As Jones puts it, “Lizzie only has space in the book for a remarkable interior life because her sisters do not. Even beautiful Jane is a bit insipid – a fact Austen knowingly plays with, as her eventual engagement to Bingley is briefly threatened by Jane’s reticence.”
“One Friday evening in March, I took the train to Columbia University and walked into one of the strangest and most interesting classes I’d ever seen. It was the Laboratory of Literary Architecture, part of the Mellon Visiting Artists and Thinkers Program at Columbia University School of the Arts, and a multimedia workshop in which writing students, quite literally, create architectural models of literary texts.”
Small Demons presents Storyverse, a website in which users are invited to explore the connections between their favorite books and the people, places, and cultural artifacts out of which they are woven. It’s difficult to explain, but painless to enjoy thanks to a beautiful GUI.
Check out a new essay from Zadie Smith in NYRB on the uncanny, Schopenhauer, and Anomalisa. “That we believe ourselves to be separate from each other, and separate from the apparent objects of our desire, was, for Schopenhauer, the root of our suffering.” For more on Smith, read our review of NW.