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.
What is the price of diversity? Colleen Muir asks this question at The Rumpus in relation to the hefty cost of writers’ conferences. A piece of her essay: “I’m not claiming that Breadloaf [sic] lacks for talent, or that its writers don’t have interesting things to say. But it certainly lacks for diversity in at least one significant way, because most attendees share a privileged experience of the world.” Pair with Gail Gauthier’s essay on working in the kitchen crew at Bread Loaf.
"If you can get some brilliant artists to make a musical about your childhood, I highly recommend it. It's very cathartic." Recent MacArthur fellow Alison Bechdel's hugely successful graphic memoir, Fun Home, has been adapted into a Broadway musical, and now she's written a coda to the book that looks at what the musical has meant to her and what it could have meant to her parents. Pair with our interview with Bechdel here.
When your father shows you The Wrath of Khan at a young age, you develop an appreciation for the late Leonard Nimoy, whose death scene as Spock in that film is among his most famous performances. For Jen Girdish, that appreciation led to this essay, which reflects on Nimoy, her father’s own death and the onetime ubiquity of VHS tapes.
The brief excerpt of The Late American Novel that appeared in the New York Times Magazine this past weekend was also the first appearance of "A Tiny New Culture Section With No Name," part of the Magazine's redesign. At the Magazine's "behind-the-scenes" blog, Editor Adam Sternbergh talks about the tiny new section and has some very nice things to say about The Late American Novel as well.
“In the imposed rhythm of the day, there wasn’t the time to step back and appraise my ideas, to delete paragraphs, to question my identity. Whether or not I was a writer was temporarily immaterial, because I was writing.” Adam Dalva contemplates life at an artists’ residency. For more of his writing, check out his essay on Donna Tartt’s The Goldfinch for The Millions.