“Good kid m.A.A.d city is a memento mori haunted by dead and living ghosts…When they are pieced together as a sequence they act like Muybridge’s zoopraxiscope: they give us the impression that from these clips we are watching a black boy learn to fly above it all.” Rachel Kaadzi Ghansah looks at hip-hop, Kendrick Lamar, and the tradition of the black blues narrative.
I did not know this existed: Trivial Pursuit Book Lover’s Edition. I suspect that Millions readers would be quite skilled. Sample question: “What Hardy novel features a doomed title heroine who names her daughter Sorrow?” Bookslut took the game for a spin a few years back.
How can science fiction writers invent aliens and entire planets but not include multifaceted characters of color in their fiction? At The Atlantic, Noah Berlatsky discusses the genre’s equality problem and analyzes how race is viewed in everything from The Left Hand of Darkness to Do Androids Dream of Electric Sheep. “When that future unthinkingly reproduces current inequities, it seems like both a missed opportunity and a failure of imagination.”
“[W]e can confirm that there is no place on Earth (not even Antarctica) that literature isn’t written.” Michael Barron, the U.S. literary editor for Culture Trip, curates “The Global Anthology,” an online project showcasing more than 220 pieces of literature from all over the world written in or translated into English (via Moby Lives).
Although Of Mice and Men is an iconic novella about the Great Depression, could it be set in another era? At McSweeney’s, Thomas Scott imagines Lennie and George in Silicon Valley. “Well, we’ll have a big vegetable patch and a rabbit hutch and chickens and a 7,000 square-foot Hacienda with a little landing pad on the top deck for a helicopter.”
Last week, I mentioned Look Who’s Back by Timur Vermes, which caused a stir in Germany with its tale of a time-hopping Hitler. Now, Daniel Torday reviews the book for the Times, judging it both for its historical research and its merits as a work of fiction. Sample quote: “The German public’s acceptance of the artist they think they’re watching provides a critique of pop culture. But it feels like bringing the Luftwaffe to a knife fight.”