Jeff Chang, whose Can’t Stop Wont Stop I just can’t recommend enough for anyone interested in the history of hip hop, has a great piece in the LARB on rap music and the 1992 LA Riots. The LA Times also ran a compelling essay on Toddy Tee, N.W.A. and other prescient west coast MCs, the forefathers of what became commercial gangsta rap.
The longlist for Canada’s 2010 Scotiabank Giller Prize has been announced. Notable omissions: “Ilustrado by Montreal’s Miguel Syjuco, which won the Man Asian Literary Award before it was even published; Beatrice and Virgil, Yann Martel’s first novel since his breakthrough Life of Pi; and, most notably, Room by Emma Donoghue, which was recently shortlisted for the Man Booker Prize.”
One consequence of creating a beloved show is that you’ve got to deal with superficial paeans to it. David Simon has to know this, but he still seems cranky in this interview. Of course I’m not saying he can’t be chagrined by Grantland or Vulture’s recent TV brackets (which Simon singled out in subsequent remarks), but when he says he’s “it’s wearying” for people “to be picking [The Wire] apart now like it’s a deck of cards or like they were there the whole time or they understood it the whole time,” it’s a bit harder to take his side, and you feel like he hasn’t watched Erlend Lavik’s sophisticated and thorough video essay about The Wire‘s visual style. Surely analyses like this (or Žižek‘s, which we’ve mentioned before) deserve due credit.
The New York Times interviewed Colum McCann about what and who he’s reading, and if you’re looking for a book recommendation this piece is full of them. For more from McCann, be sure to check out his Year in Reading, our review of his novel TransAtlantic, and this reading of his soccer poem.
Susan Sontag once wrote that the truest way to portray illness was without metaphor. Our own Marie Myung-Ok Lee takes a look at autism in recent literature and the ways its writers (ranging from Don DeLillo, Jonathan Lethem, and Louise Erdrich) have often reduced those with autism to a literary construct.
Humans have been covering paintings, windows, and mirrors after the passing of loved ones for generations. Why do we feel the need to close off our connection to the outside world when we are grieving? Colin Dickey writes about the social, literary, and religious connotations of grief and memory at Hazlitt. At The Millions, Lidia Yuknavitch writes about channeling her grief into art.