Between Page and Screen is a collaboration between book artist and poet Amaranth Borsuk and programmer Brad Bouse that experiments with the border between regular old reading and e-reading. The text is rendered in a code that requires the aid of a web cam to unlock its sentences. The work’s creators have been interviewed at imprint.
What makes a sentence sad? At The Missouri Review blog, Aaron Gilbreath explores just why certain sentences are depressing — from A.A. Milne’s The House at Pooh Corner to James Joyce’s “Eveline.” “Their emotional impact doesn’t stem solely from the combination of words. The impact often results from the circumstances of readers’ lives.” Pair with: Sam Martone’s metafictional short story about his grandmothers’ deaths, “A Second Attempt,” at Pithead Chapel.
The oil boom occurring in North Dakota, Montana, and Canada’s Bakken Formation is so frantic right now that ND’s unemployment rate is only 3.4%, the lowest in the nation. “Hiring is so frantic,” writes Business Week‘s Bryan Gruley, “the McDonald’s in Dickinson [North Dakota] is offering $300 signing bonuses.”
How do you write poems about a culture that has been erased from history and one you don’t fit into? Tess Taylor delved into the complications of her Southern family’s past for The Forage House and attempted to excavate the unwritten parts of their history. “The non-writing down of people is intensely violent,” she told The Oxford American in a recent interview. Pair with: Our own Michael Bourne’s essay on the collection and its implications.
“Reaching the end of a Babstock poem, I often felt (and still often feel) stunned into a kind of numinous awe.” Stewart Cole for Partisan on Ken Babstock and the state of Canadian poetry. Continue with confidence on your quest through the Canadian canon with the help of this guide by our very own Michael Bourne.
Jonathan Franzen’s Kraus Project should be “a match made in heaven,” writes Jacob Mikanowski, because of how it pairs together “the old hater [Karl Kraus] and the new [Franzen], the Butch Cassidy and Sundance Kid of cultural criticism drawn together across the gulf of a century to take on all comers.” Alas, the end result is instead a “strange and rather discordant experience, like receiving a deep tissue massage while being spat on from a great height.” (Bonus: One of the best London Review of Books openers of all time.)