“Certain words have gone from being shocking to being neutered,” says Glamour editor in chief Cindi Leive, who has embraced the printing of “vulgar words” on her magazine’s cover since November of 2011. Ms. Leive is one of several women’s magazine editors who believe “magazines are catching up with other media, where women have been using explicit language for years.”
Passé Profanity
Abandon All Hope
Man, if Ian McEwan has crises of faith in fiction, how should the rest of us feel? Good question.
Birnbaum and Brooks
Robert Birnbaum sits down with Pulitzer-winning novelist Geraldine Brooks to discuss Australian literature, Harvard’s (neglected) charter to educate American Indians, and those residents of Martha’s Vineyard who say no to Chardonnay.
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Double Sided
Two ways of looking at a book: “Had I been still more articulate, I might have said that there’s a special readerly pleasure in approaching a book as you would a box. In its self-containment lies its ferocious magic; you can see everything it holds, and yet its meagre, often hackneyed contents have a way of engineering fresh, refined, resourceful patterns. And Emily might have replied that she comes to a book as to a keyhole: you observe some of the characters’ movements, you hear a little of their dialogue, but then they step outside your limited purview. They have a reality that outreaches the borders of the page.”
There’s always funny in the banana stand.
Rolling Stone asked David Cross about Arrested Development‘s Netflix relaunch and he says it’s “audacious and amazing.“
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Trigger Warning: Literature
Students at the University of California Santa Barbara, Rutgers, Oberlin, and others have been requesting “trigger warning” labels on literature from The Great Gatsby to Huck Finn. In The Guardian, University College London Professor John Mullan snipes, “You might as well put a label on English literature saying: warning – bad stuff happens here.”
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Theories of Theories of the Novel
In the Boston Review, Jess Row wades – slowly, interestingly, not always coherently – into the perpetually roiling waters of Theory of the Novel, taking on the canon wars, realism vs. the avant-garde, etc. Is it really “a safe bet that your average well-informed critic today has never read a single work of criticism by a writer of color?” Probably not, even granting Row’s exception. But possibly worth arguing about. If you like that sort of thing.