Ever wondered why Knopf’s colophon is a borzoi, or why Houghton Mifflin Harcourt’s colophon appears to be a musician riding a flying dolphin? Well, now you can find out. Also, a while back, HTMLGIANT‘s Jimmy Chen ranked some colophons by their ability to fly.
Over at Bloom today, a lively Q&A with Charles McNair, whose Pickett’s Charge was the subject of Kevin Hartnett’s recent review here. In particular, McNair takes us through the harrowing blow by blow of his road to publication, the “sophomore jinx story” from a Pulitzer Prize-nominated author.
Over at The Paris Review, Hannah Tennant-Moore defends the merits of disturbing literature. We are fascinated with the disturbing, because, as Tennant-Moore asserts, “wonder, disgust: both feelings are true.” Here’s a bonus piece on A.M. Homes‘ darkly comic May We Be Forgiven and on comforting the disturbed — or is it disturbing the comforted?
Apart from being one of America’s most eminent fiction writers, Eudora Welty was also an accomplished photographer, as evidenced by the hundreds of images she produced while employed by the Works Progress Administration in the midst of the Great Depression. As Danny Heitman writes, she was also known as a great public speaker, in part because, as she put it, “I’m always on time, and I don’t get drunk or hole up in a hotel with my lover.” (h/t The Paris Review)