The Oxford American will soon run its own restaurant out of its Arkansas headquarters. Like its associated publication, South on Main will “try and explore the whole breadth of the South.” It will also feature an event space.
“The city has the beckoning power of a black hole or the Italian countryside or a castle. There is no way to explain our wiring to someone whose fairytale has always ended somewhere like Florida.” Aisha Sabatini Sloan on calling Detroit home, over at The Offing. Also check out Bill Morris’s Millions piece on movies set in the city.
“I never thought of myself as an outsider. Because outside of what? You would have to give advantage to this space where you’re not, to think of it as sovereign because you’re not there. I was always in the center of where I needed to be.” Aleksander Hemon on writing his new book.
The semiotics-department backdrop to Jeffrey Eugenides’s new novel, The Marriage Plot, seems to have sparked a new mode of confessional writing. But Theorists are so seductive because they are, themselves, essentially literary.
“I really do hate the idea that black joy itself is a joy derived in spite of. While it may indeed include that, limiting it to such assumes that joy among black people only exists as a defiant response to oppression from white people. I’d rather believe that black folk are capable of this deep supernatural sense without having to be enslaved or disenfranchised.” For the Boston Review, Jericho Brown on poetry and joy.
“As they were actual animals, rather than anthropomorphized personality traits intended to teach moral lessons, the Dog’s words were just a bunch of barking. The Goat bolted across the road, ending up on the ridge behind the Baker place. The Goat’s owner then called Animal Control, even though the Dog’s owner knew about the pot plants in the former’s greenhouse, which he had always been cool about, though that may change real soon.” Aesop’s lesser fables.