Are you still not following Pentametron, even after I urged you to do so last week? (And even after New York Magazine added it to its Approval Matrix?) Well, if that’s the case, I shouldn’t even share Earwickr with you. You don’t deserve to read Finnegans Wake spelled out on your Twitter timeline, 140 characters at a time. (Bonus: Michael Chabon reviews James Joyce’s final work for The New York Review of Books.)
This week, Allison K. Gibson looked into the “awkward but necessary role of technology in fiction,” and what it means to include it or overlook it in a given work of fiction. Similarly, what’s with the absence of birth scenes in literature?
It’s time to recognize tarot’s place in literature. Peter Bebergal writes on Jessa Crispin’s latest project, The Creative Tarot: A Modern Guide to an Inspired Life.
We recently linked to a new interview with Ian McEwan, whose latest novel The Children Act comes out next week. The LA Times has a full review of the new book, and the piece pairs well with Charles-Adam Foster-Simard‘s review of McEwan’s Sweet Tooth. And of course there’s Atonement, which comes up in a variety of Millions articles, from Michael David Lukas‘s essay on the polyphonic novel to Seth Sawyer‘s recent piece on food and reading.
Over at Slate, Mike Vuolo speaks with Bob Garfield about “African-American English,” or, as some might say, “Ebonics.” The two of them explore its history, misconceptions, and whether or not it’s possible or even appropriate for a white writer (such as The Help author Kathryn Stockett) to attempt to write in the dialect of certain African-Americans.
“All poems of public grief are private poems first,” writes Mark Doty in his evaluation of Wisława Szymborska’s poem, “Photograph from September 11th.” Indeed, what Doty learned “over the course of those dozen years, was that the words one hammers out in private, in order to attempt some kind of sense, may end up being used by people in ways you could have never anticipated.”