Caleb Crain, author of American Sympathy: Men, Friendship, and Literature in the New Nation discusses the mixed feelings that a writer is subject to when it’s time to let go of a book.
Not Letting Go
A dimension of mind
There are two essays on the narrative genius behind The Twilight Zone, Rod Serling, over at Berfrois: Michael A. Moodian on how using genre tropes allowed Serling to tell politically volatile stories during the McArthy era of Hollywood, and Christopher Cappelluti takes a look at how The Twilight Zone changed television history.
The Pen Reveals
What does handwriting tell us about its author? The Atlantic investigates. Our own Kevin Hartnett explains why he writes by hand.
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Moleskine’s Imminent IPO
A while back, I noted that Moleskine was preparing an initial public offering on the Italian stock exchange. Well, now the time has come. On April 3, you will be allowed to buy shares of the notebook company (and perhaps keep records of them within your Moleskine). If you’re interested, you might want to read up on the company’s history – and also on how to pronounce its name.
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Wake Up and Smell the Covfefe
“Fool me once, shame on you. Fool me – you can’t get fooled again.” Following President Trump’s misstatement of a line from The Great Gatsby, The Guardian has a quiz of literary misquotations for your mid-week amusement.
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Roald Dahl’s Salty Advice
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A Jump in Stature
Mark Twain first rose to fame as the author of an essay about a frog-jumping contest in California. Originally titled “Jim Smiley and His Jumping Frog,” the essay went viral in America’s biggest newspapers, eventually inspiring the New York Tribune to write of Twain that “no reputation was ever so rapidly won.” Yet the humor which made the essay so popular is often lost on modern audiences, in no small part because, as Ben Turnoff writes in Lapham’s Quarterly, frontier humor isn’t funny if there’s no Wild West.
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B|ta’arof Launches A Poetry Series
B|ta’arof – which launched last year – announced a new poetry series featuring translations of “contemporary poems written in Persian and translated into English by emerging poets and scholars in the Iranian diaspora.” The translations will be accompanied by brief interviews with the translators, each consisting of the same five questions. “The idea,” according to the mission statement, “is to pull back the curtain on the process of translation, revealing how it is subject to individual choices and proclivities—the first choice being what poem to even translate.”
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