Live in New York? Like Flavorpill? Then you should probably mosey on down to their event on Thursday, where they’ll be listening to the songwriter Holly Miranda and talking with Lindsay Hunter about her new book, Don’t Kiss Me. (If you’ll recall, our own Nick Moran wrote about Lindsay’s work here and here.)
But Do Listen
Quaker Was Better
Most of the time, when somebody insults a writer on Twitter, the insult disappears into the cyberspace ether. However, as with any rule, there are always exceptions, and one is when you trash Joyce Carol Oates and then thank her for inventing a breakfast food.
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“How like a prison is my cubicle…”
In May, poet David Lehman wrote the first line of a sonnet about cubicle anomie and began crowdsourcing the rest. The completed 12-week project at The American Scholar is not merely a pretty great piece on its own, but a lesson in how to write one, line by line: 2, 3, 4, 5, 6, 7, 8/9, 10, 11, 12, 13, 14. You can submit your title suggestion as late as midnight on Sunday, but we suggest getting a start on it now, while the prison of work is still fresh in mind. (h/t The New York Times)
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Smile!
“Publishing is also an industry that selectively values a kind of swaggering authenticity that would never capitulate to demands for something so banal as being nice. But authenticity is too often a short hand for callous, aloof, or honest for the purpose of cruelty rather than truth-seeking.” Alana Massey writes about the “niceness” of publishing.
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Devastating Stories
Recommended Reading: “The Misanthropic Genius of Joy Williams” in The New York Times Magazine. Her latest collection of short stories, The Visiting Privilege: New and Collected Stories, which was included on our most anticipated list, will be released on September 8th. “When I asked Williams what she wants out of a great story, she replied, ‘I want to be devastated in some way.’”
Joshua James
If you like your music country/folk-ish with a difference, Joshua James new album Build Me This might be of interest. No Depression, the roots music blog, describes the album as a hybrid of “chain-gang chants, country-fuzz rave-ups, gospel rafter-raisers, southern blues grinds, and civil war camp songs.” Try not to be taken aback by the Jared Leto-in-a-mud-mask cover art.
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