Many aspiring writers wind up in publishing jobs or teaching posts. Some view the career choice as a happy union between their creative interests and their vocational qualifications. T. S. Eliot was not so. In an article for The Rumpus, Lisa Levy notes that the poet continued “to work at the bank even after his poems [became] successful,” and that the poet found the work “more conducive to writing poetry and criticism than taking a more literary job might be.”
Out this week: The Refugees by Viet Thanh Nguyen; Amiable with Big Teeth by Claude McKay; Autumn by Ali Smith; A Separation by Katie Kitamura; 300 Arguments by Sarah Manguso; The Woman Next Door by Yewande Omotoso; Pachinko by Min Jin Lee; and Universal Harvester by John Darnielle. For more on these and other new titles, go read our most recent book preview.
In a piece for The Atlantic, Micah Mattix responds to the 50th Anniversary Edition of Lunch Poems with a reflection on the social media-esque quality of Frank O'Hara's poetry. "O'Hara's Lunch Poems—like Facebook posts or tweets—shares, saves, and re-creates the poet’s experience of the world. He addresses others in order to combat a sense of loneliness, sharing his gossipy, sometimes snarky take of modern life, his unfiltered enthusiasm, and his boredom in a direct, conversational tone. In short, Lunch Poems, while 50 years old, is a very 21st-century book."
"Notice how Malbecco, as Gelosy, lives outside of time, a death-in-life: he can 'never dye, but dying lives.' In other words, embrace a quality entirely—even, I would argue, a less pejorative quality, like hustle—and it overmasters you. You’re doomed." Rowan Ricardo Phillips, basketball columnist for The Paris Review, on Edmund Spenser, hustle, and the New York Knicks.