Celebrate National Poetry Month by recording a poem for the Poetry Foundation.
“The Colbert Bump didn’t get so much media attention and public support because everyone wanted to talk about me and my novel. People wanted to support book culture, to say that books and writers matter, and that we should be doing everything we can to ensure their continued existence, if not their success. In short, The Book is not dead!” Our own Edan Lepucki and Stephan Eirik Clark talk about their experiences as debut authors on “The Colbert Bump,” and the piece pairs nicely with Edan and Millions staff writer Bill Morris‘s article about the many paths writers follow to publication.
“These were not like other poems: within their consistent 16-line armature they were turbulent, mad, feverish, cryptic, an unruly union of boppy jive-talk, and thorny quasi-Elizabethan diction. It was impossible to tell who was speaking, or to whom; poems ended in mid-syllable, bristled with random phrases in foreign languages, sported menacing-looking accent marks and Shakespearean contractions, were riddled with ampersands and ellipses.” At The Rumpus, a memory of falling in love with The Dream Songs (which happens to nicely complement a piece we published back in April).
“I don’t try to deliver a message, teach, inform or ‘give back’ in my books. I simply want to tell a story. My writing is totally separated from my activism and social service, which are channeled through my Foundation.” Megan Bradshaw interviews Isabel Allende for Asymptote Journal.
No surprise here — Elena Ferrante fever continues to sweep the literary world. Last week, an Italian historian was forced to deny claims that she was actually the Neapolitan novelist. Now, The Guardian takes a look at the unique history of pseudonyms and posits whether Ferrante’s mystery might outlast some famous historical masqueraders. For the unacquainted, here’s a quick piece on reading Italy through Ferrante’s work.