Mary Ruefle, author of the forthcoming Madness, Rack, and Honey, wrote a poetic essay on the subject of fear. It’s chock full of lines like this one about why she likes the word dread more than the word fear: “because fear, like the unconscious emotion which is one of its forms, has only the word ear inside of it, telling an animal to listen, while dread has the word read inside of it, telling us to read carefully and find the dead, who are also there.”
Haruki Murakami‘s Norwegian Wood has been dropped from one New Jersey school’s syllabus due to “some words and language that seemed to be inappropriate as far as the parents and some of the kids were concerned.” His publisher A. A. Knopf has issued a statement in response.
Mark Dimunation was on the committee that selected the 88 books for the Library of Congress’s current “Books That Shaped America” exhibit. Recently he did an interview with NPR‘s Lynn Neary in which he explained how he arrived at his decisions to include such works as Goodnight Moon, The Joy Of Cooking, and Uncle Tom’s Cabin.
People Who Eat Darkness author Richard Lloyd Parry’s forthcoming book on the Tōhoku earthquake and its aftermath, Ghosts of the Tsunami, will be released some time in late summer/early fall, and BBC Radio put together a 30-minute teaser to tide you over until then. You can also check out Parry’s moving yet unsettling piece for the London Review of Books.
We all probably had the humiliating experience of reciting a poem in high school. Yet at Salon, Nina Kang believes that memorizing poetry is a lost art. She blames the loss of the discipline on our tendency to skim and new poetry’s seeming aversion to memorization. “Writers actively fight against the appearance of artifice, and often instead strive for an informal, offhand tone, with that hint of clumsiness that lends a certain authenticity to the voice. It turns out this is a quality that makes the reciter’s job that much more difficulty.” Here’s our take on the lost art of recitation.