If we are, as Adam Kirsch writes, in the midst of a golden age of essays, we might want to ask exactly which essays are proof of this golden age. His first three picks — My Heart is an Idiot, I Was Told There’d Be Cake and Pulphead — are unsurprising choices, but then it gets a bit more interesting when he looks at Sheila Heti’s latest novel. (You could also check out a few of our pieces on these books.)
I Feel Expository
Reading Scores Fall
SAT reading scores have fallen to their lowest level on record.
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A Matter of Time
Does literature have to be timeless? Over at Electric Literature, Kevin Pickard debates pop culture references in novels. Pair with Bill Morris’s Millions essay on books about the near future.
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Book Titles, If They Were Written Today
The wonders of modern book packaging applied to some classic tomes. For example, 40 Days and a Mule: How One Man Quit His Job and Became the Boss. (via)
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Battle Royale
Publishers Weekly did some sleuthing and it turns out that it only takes 300 print copies sold per day to land the Amazon bestseller list – time to get cracking, everyone.
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Olive Kitteridge on HBO
Soon HBO will have another show based on an acclaimed book in its lineup. Olive Kitteridge, a show based on the Pulitzer Prize-winning novel by Elizabeth Strout, will premiere on November 2nd. You can see the trailer (along with a brief analysis) over at Slate. FYI, Strout wrote a Year in Reading entry for us.
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“The historic past unrolls like a park”
Recommended Reading: Sadie Stein on the writing of Elizabeth Bowen.
Milton’s Shakespearean Marginalia
In a copy of Shakespeare's first folio, researchers found a hand-written annotation by none other than Paradise Lost author John Milton.
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How to Get Diversity in Publishing
Literary Hub has an excerpt of an essay by Chris Jackson, Editor in Chief of Random House’s One World imprint on how we can actually achieve diversity in the publishing industry. “What’s the payoff of having a more diverse workforce? Well, there’s obviously the moral case to be made—and that’s a case that I think applies to any industry. But in book publishing, I think we have a special obligation, given our central role in shaping the culture.” And he shares the origin story of how he started to work with Ta-Nehisi Coates.
A Golden Age of solipistic navel-gazing, perhaps.
Actually, Kirsch’s piece quite clearly contradicts the notion of a present “golden age” of essays. One must read beyond the intro. Paragraph 3 begins: “But all is not as it seems. … The resurrection of the essay is in large measure a mirage.” And he elaborates his case from there, along the way observing an important distinction: “What we now call an essayist used to be called a humorist.” The piece is well worth reading in its entirety.
Even if one only read the title: “The New Essayist, or the Decline of a Form?” one wouldn’t come to the conclusion that the author thinks we’re in a “golden age” of essays.
Anyway it’s a really good piece. Sedaris’ writing has always inexplicably bugged me, and Kirsh has managed to tell me why.
that’s *Adam* Kirsch, not Mike!