Deep South Magazine‘s Hunter Murphy compiled a list of “The Greatest Bromances in Southern Literature.”
I Doubt The Authors Would’ve Been Thrilled With This
Glory Edim’s Empire of Knowledge
Well-Read Black Girl founder Glory Edim spoke to HuffPost's "We Built This" series on her passion for literacy and the urgency of protecting black women.
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All She Can Ever Know
“I am writing a book my father will never see. Not in its entirety, not out in the world.” For Longreads, Nicole Chung writes about adoption, family, writing, and finishing her upcoming memoir, All You Can Ever Know, in the wake of her father’s sudden death. Pair with: Julie Buntin‘s Year in Reading entry which feature’s Chung’s memoir.
The Book Detective
“When I ask him why he likes something, it’s a perverse exercise less to gain new insight than to trick him into admitting to his personality.” For Longreads, Dead Girls writer Alice Bolin tries to understand her father through the (sometimes misogynistic) mystery novels he reads and loves. (Read our own Janet Potter on Stieg Larsson’s Millennium trilogy.)
Chomsky on Schooling
Noam Chomsky, in conversation at the University of Arizona, derides the rising cost of university tuition. He goes on to say student fees are “a general form of indoctrination and control, which goes down to kindergarten. I mean, that’s what No Child Left Behind is about. It’s training for the Marine Corps.”
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Pink Matter
No doubt inspired by the musical stylings of Ricky Rozay (aka Rick Ross), Peter Foges set out to investigate the origins and present state of pink champagne.
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Scrappy Little Nobody
Anna Kendrick (Into the Woods, Pitch Perfect) is releasing a collection of essays, Scrappy Little Nobody, this November. If it’s anything like her Twitter, I’m sure we’ll be laughing. For fans of Kendrick, check out our own Sonya Chung’s review of Up in the Air.
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Treme vs. The World
“American television has been a juvenile medium for most of its existence,” David Simon tells Salon. This defense of ‘Treme’ was published three days after David Thier called the show “deeply boring” in The Atlantic. “There is nothing New Orleans loves so much as New Orleans” Thier says, “but the show can’t get past the desire to be authentic.” Sarah Broom, during last May’s PEN World Voices Festival, said “this ‘love of place’ is really just from people who are stuck in a lots of ways.” But hey, at least the show’s attention to detail is admirable.