The more you know! In Victorian times, sitting for a photograph could last hours due to primitive camera technology and the need for long, long exposures. This, predictably, didn’t jibe with kids, and so parents had to adopt an ingenious workaround: disguising themselves in the picture so they could physically restrain the youngsters. (Don’t miss Part 2, either.)
How They Did It Before Sears
Joke Science
What exactly happens to our brains when we laugh? Richard Restak (of The American Scholar) investigates.
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A Fine Statement
This piece on the limited language of David Lynch from Dennis Lim over at The New Yorker is a fascinating journey into the mind of the peculiar auteur behind such gems as Eraserhead and Twin Peaks. Lynch will be publishing what he has called a “quasi-memoir” sometime in 2017.
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Poetry From Hanoi Hilton
Bill Keller discusses John Borling’s Taps On The Walls, a collection of poems “tapped out in code, letter by letter, on the walls of a wretched cell in Hanoi during his 6 1/2 years as a prisoner of war.”
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“A Giant Empathy Machine”
"It may be true... that the internet will turn out to be 'a giant empathy machine.' And yet, as any reader knows, we’ve already had one for centuries." Drew Calvert reviews The Novel: A Biography for the Los Angeles Review of Books and provides an argument for the novel in the digital age.
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Tuesday New Release Day: Hill; Donohoe; Bausch; Hall & Hobbs
Out this week: The Nix by Nathan Hill; Ashes of Fiery Weather by Kathleen Donohoe; The Legend of Jesse Smoke by Robert Bausch; and Sex and Death, a new story anthology including pieces by Kevin Barry, Wells Tower and Yiyun Li. For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
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There Is No Real Life
If you enjoyed Bill Morris’s review of The Book of My Lives, Aleksandar Hemon’s latest collection of essays, then you’ll really like this interview with Hemon over at Guernica.
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“Dear Son.”
Recommended Viewing: “The Mysterious Arrival of an Unusual Letter,” which is a Scott Wenner film based on a poem by Mark Strand.