Former Millions intern and current McNally Jackson bookmonger Rachel Hurn discusses “escaping from” San Diego with Eileen Myles. “The sixth time I saw Myles read, I told her I was stalking her,” Hurn writes. “I think she thought I was serious. Maybe I was.”
If you have aspirations of the literary sort, I strongly recommend Dan Wickett’s interview with “founders, editors and managing editors of 8 Literary Journals of varying age and size.” And you should also look at the latest posts at Mad Max Perkins’ Book Angst in which hears from editors and publishing industry types about “the true meaning of midlist.”
A couple weeks ago, Darcey Steinke wrote an essay for The Millions in which she remembered her friendship with Barry Hannah. She went into detail about the freewheeling energy of his prose. Now, in a review of Steinke’s latest for Bookforum, Lisa Locascio writes about the author’s own talents. “Many authors bounce the sacred and profane against each another; Steinke blasts them together with the intensity of CERN’s Large Hadron Collider (LHC),” she writes.
“‘All of these things happened to me with keys,’ she says. ‘It was as if the keys were saying, “Don’t talk about us.” It was as if they didn’t like it.’” Year in Reading alum Helen Oyeyemi discusses her fascination with keys and What Is Not Yours Is Not Yours at NPR. For writing from the author, check out her piece on Silvina Ocampo’s Thus Were Their Faces.
A German cow named Yvonne escaped her impending trip to a slaughterhouse and soon became a national icon. In the wake of public outcry, officials have called off the search for her. Elsewhere, Lydia Davis is probably regretting that this story broke after she published her bovine chapbook The Cows.
“One thing that could have made this story end differently is if the United States had a significant cultural policy. We have a trade policy – we protect industries we value – and we have an anti-trust policy designed to protect consumers. We have arts and humanities endowments that assist institutions. But our cultural policy is mostly to let culture fend for itself in the open market. It works great, but sometimes it doesn’t.” Salon looks at what Amazon, the Penguin-Random House merger, and the imposition of capitalism to culture might mean for literature at large.