Before Dr. Seuss penned the Lorax who spoke for the trees, he drew ads for Standard Oil, General Electric, and a host of other large corporations who spoke for a considerably different constituency. This great collection of advertising artwork from Theodore Seuss Geisel courtesy of the Mandeville Special Collections Library at the University of California, San Diego.
“You have turned to stone. A hairline crack runs along your entire length from crown to toe. Your feet have turned to liquid, and you are melting onto the kitchen floor.” Are you living in an Elena Ferrante novel? Li Sian Goh at The Toast has compiled a helpful list of ways to tell whether or not you might be a character in Ferrante’s final Neapolitan novel, The Story of the Lost Child.
“We might then see the bear, and judge it best to run, receive the insult and deem it right to strike, but we could not actually feel afraid or angry.” Let’s hope you never get approached by a bear while hiking in the woods with trailblazing psychologist William James, who had some complicated ideas about feelings.
“I just didn’t see the textual evidence for it. If Mark Twain wanted to make somebody black, he would make them black. He was not shy about dealing with matters of race.” For The New Yorker, Mythili G. Rao on the complicated backstory to the upcoming publication of The Purloining of Prince Oleomargarine, a “new” children's book by Mark Twain. See also: our consideration of Twain's self-deprecating travelogue The Innocents Abroad.
"No novel gets uniformly enthusiastic reviews, but the polarized responses to The Goldfinch lead to the long-debated questions: What makes a work literature, and who gets to decide?" Vanity Fair has big questions and lots of opinions about Donna Tartt's latest novel, which we've covered pretty extensively ourselves.
In case you missed it, this past weekend The New York Review of Books likely outed the author who's been writing under the nom de plume of Elena Ferrante. Condemnation was fast and furious, including pieces by n+1 and this fantastic Twitter thread by critic Lili Loofbourow. We join the chorus of voices who would rather direct the attention back to Ferrante's work. Might we suggest starting with this piece about The Neapolitan Quartet's subversive power?