“For Germany, the Wagners are what the Atreidai are in Greek mythology. One of them, Atreus, committed a grave sin, casting a curse over all subsequent generations, beginning with Agamemnon and Menelaus, followed by Iphigenia, Orestes and Electra. The family is marked by enmity, as is the Wagner family.” On a certain influential composer.
This week we have new on shelves: Julie Orringer’s hotly anticipated debut novel The Invisible Bridge; Meghan Daum’s memoir of real estate addiction Life Would Be Perfect If I Lived in That House, Private Life by Jane Smiley, and The Singer’s Gun by our own Emily St. John Mandel.
Mixer Publishing wants more of your sex, violence, and satire. They’ve just extended their contest deadline–for fiction, poetry, and graphic stories–to the end of the month, which gives you a few more weeks to conjure and submit satirical lust and gore for a chance to win their $1,000 prize.
“Despite a glut of English translations (well over a hundred, by my count),” writes Dante scholar Robert Pogue Harrison, “New versions of the entire [Divine Comedy] poem or individual canticles continue to appear in rapid succession—six in the last decade alone.” Over at the New York Review of Books, he investigates three of the latest: Dan Brown’s Inferno, Mary Jo Bang’s Inferno, and Clive James’s Divine Comedy.
On the NY Daily News’ Page Views blog, Alexander Nazaryan writes about the Westminster Kennel Club Dog Show’s most neglected — yet also most literary — member breed: the dachshund. “No dog,” Nazaryan writes, “has been more widely loved by writers and artists than the dachshund.” Comedian Streeter Seidell agrees that the dachshund was slighted, and calls for a “fan favorite” award next year.
Poetry readership among U.S. adults is the highest it’s been in 15 years—with young adult readership (among 18-24 year olds) nearly doubling—according to the National Endowment for the Arts’ 2017 Survey of Public Participation in the Arts (SPPA). (For what it’s worth: The Millions has always loved poetry).