If you enjoyed the profile of Anne Carson in the latest New York Times Magazine – fictitious “ice bats” notwithstanding – you’re going to really love Parul Sehgal and Nathan Huffstutter’s two takes on Red Doc>. The work, Sehgal writes, is “suspended between what it is and what we want it to be.” And also, writes Huffstutter, it’s a work that “courses with a wit shot through with intelligence and humility.”
Two Takes on Red Doc>
Someone’s Gotta Do It
If you’ve ever wondered how all those celebrity chefs can churn out so many cookbooks year after year, you should check out Julia Moskin’s confessions from a former “food ghost.”
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“so this is the sound of you”
Why not kick off 2012 with former poet laureate W. S. Merwin’s poem, “To the New Year“?
Note to English Majors: Calm Down
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It Was Nothing, Really
W.H. Auden lived a secret life, not as a man with a second family or an illicit habit but as, weirdly enough, a genuinely kind human being. He paid for a friend’s costly operation and camped outside the apartment of a woman who suffered from night terrors until she felt safe enough to sleep on her own again. So why did the poet want to hide his good deeds? He claimed he didn’t want to be admired for basic decency.
And All That Jazz
Have you ever wondered what The Great Gatsby would sound like? Designer Vladimir V. Kuchinov made The Generative Gatsby, a book that features typography based on famous 1920s jazz songs. “The following work is a visual experiment, a study of how music of this era, its rhythms, syncopations and patterns could alter prose to a new typographic frontiers keeping content legible as it could be,” he writes on his website.
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“I’m more articulate then I was when I was nine, but I don’t know anything new.”
Ryan Bradley chats with Gary Amdahl, author of Visigoth, about fiction, “reality hunger,” and the current publishing climate.
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