“There’s much to be commended in the work done by FiveThirtyEight, or even Vox,” writes Millions contributor Brian Ted Jones. “But making problems seem smaller then they are is a harm that outweighs all the good.” He goes on to tie together the rise of “explainer” sites, the problem with “hashtag activism,” and also references to Louis C.K., Teju Cole, and Leslie Jamison.
“[L]et’s not pull punches — misogyny has disfigured how Dickinson’s story is told. We’re missing out on a fierce mind when we reduce her to a spinster perseverating alone in her room writing poems to the ether.” A new Emily Dickinson exhibition proves the poet wasn’t nearly as much of a recluse as we’ve been led to think, writes Daniel Larkin for Hyperallergic. Pair with this piece on Paul Legault’s English-to-English translations of her poetry, which “transports Dickinson into mostly fortune-cookie length snippets of contemporary English, a dialect spoken widely in urban pockets like Brooklyn, where increasing numbers of the highly educated and literary classes live, procreate, keep each other amused, and make their own cheese.”
Congratulations to Millions contributor Lydia Kiesling whose thoughtful essay “Proust’s Arabesk: The Museum of Innocence by Orhan Pamuk” was named a finalist for the 3quarksdaily Arts & Literature Prize. And thanks to all the Millions readers who voted for our essays in the first round of the contest.
It’s been rumored for some time that The Flaming Lips were working with Aaron Sorkin to develop a musical, but yesterday in a press release, the project was given an expected release date, and Sorkin was said to be no longer involved. “Yoshimi” will tell the story of “a young Japanese artist who journeys into a robot world where she must contend with a host of evil forces.” (Or, you know, basically this song acted out.)