The Gallery of Lost Art is “an online exhibition that tells the stories of artworks that have disappeared,” and my-oh-my is it a doozy of an internet diversion.
Some very cool Hunter S. Thompson photography showing now at an LA gallery. The show coincides with a pricey new “collector’s edition” book that “presents a rare look into the life of Thompson.” (via)Another most literate cities list has arrived. In 2006, Seattle wins, with Minneapolis second. My hometown Washington, DC, is tied for third and LA, where I lived when I started this blog, is eighth. The last two cities I’ve lived in, Chicago (39th) and, now, Philadelphia (tied for 33rd), fail to crack the top ten. Not sure what conclusions I can draw about that, but USA Today draws its own conclusions in an article about the list.Somebody gets into Gwenda’s garbage, her papers fly everywhere, and before you know it, she’s cought in a “indie movie scene wrought with ironic symbolism.” Brilliant.Lesser-Known Editing and Proofreading Marks. Also Brilliant. (via Languagehat)On a more serious note, Tim O’Reilly explains why the book search efforts of Google, et al, are broken. The problem is that we must search in Google’s (or Yahoo’s) walled garden. There is no way to search across all of the books that have been digitized, which is very much at odds with our experience on the Web, where we can search everything at once.
Things you can learn about Teddy Wayne from his essay in the New York Times Book Review: one, his first name is Derek; two, he believes the modern lit world is crazy for guys named Jonathan; and three, he once considered using the pen name D.T. Wayne. (For more, you could go read our interview, or else check out our review of his latest novel.)
Writing for n+1’s City by City series, Moira Donegan remarks on the “self-defeating contradictions” of working at a nonprofit in New Orleans. It’s a town, she writes, where most arrive to either “perform charity or to party,” and where, she feels, “many of the people who … come to help the city [are] also hurting it.” In certain ways, the piece can be read as being in conversation with Duncan Murrell’s 2012 essay for Oxford American about authenticity, preservation, posterity, and the Big Easy.
“How can you write a complete story without a conventional plot? We often hear that in short stories, the main character must change. But in some stories, including some by Grace Paley, the characters don’t change. Instead, her stories change the reader. You’re different by the time you reach the end.” We’ve told you about The Atlantic’s “By Heart” series plenty of times before. This week, it’s Alice Mattison, who touches on everything from character development to the strange stories of Grace Paley.
Penny Perkins interviews Sons and Daughters of Ease and Plenty author Ramona Ausubel at The Rumpus. “I realized that this book I was writing about money had to be about race and it had to be about class and it had to be about privilege, and which of those things we are able to see and which we are blind to.” Pair with Ausubel’s writing at The Millions.
“In Rilke’s essay on Auguste Rodin, written in the same year, he describes the sculptor’s visits to the Jardin des Plantes early in the morning to sketch the sleepy animals. And later on, in Rodin’s studio on the Rue de l’Université, he observes a tiny plaster cast of an antique tiger that Rodin treasured: ‘There is a cast of a panther, of Greek workmanship, hardly as big as a hand…. If you look from the front under its body into the space formed by the four powerful soft paws, you seem to be looking into the depths of an Indian stone temple; so huge and all-inclusive does this work become.’” Henri Cole on the poet and a place that inspired his work.