At the Poetry Foundation’s website, Ruth Graham tackles a strangely ubiquitous question: how does a couple go about choosing a wedding poem? (For context, it helps to keep the following quote in mind: “the aesthetics of [a personal] wedding, at least for couples of a certain age and posture, are practically set in stone: indie pop music, mason jars, white Christmas lights, wildflowers.”)
“It was spring. Byron was leaving England forever, a cloud of infamy hanging over him. (He is one of the few people you can write something like that about and have it be true; that is part of why he’s so satisfying.)” Via The Awl: the adventures of John Polidori, literary vampire and doctor to Lord Byron.
Out this week: Mislaid by Nell Zink; A Hand Reached Down to Guide Me by David Gates; Odd Woman in the City by Vivian Gornick; The Life and Death of Sophie Stark by Anna North; The Jesus Cow by Michael Perry; Lifted by the Great Nothing by Karim Dimechkie; The Mountain Can Wait by Sarah Leipciger; England and Other Stories by Graham Swift; and War of the Encyclopaedists by Christopher Robinson and Gavin Kovite. For more on these and other new titles, check out our Great 2015 Book Preview.
Many aspiring writers wind up in publishing jobs or teaching posts. Some view the career choice as a happy union between their creative interests and their vocational qualifications. T. S. Eliot was not so. In an article for The Rumpus, Lisa Levy notes that the poet continued “to work at the bank even after his poems [became] successful,” and that the poet found the work “more conducive to writing poetry and criticism than taking a more literary job might be.”
In the mid-aughts, Jonathan Gottschall pioneered “literary Darwinism,” a new form of analysis which applied evolutionary theory to works of literature. It was part of a wider upheaval in English departments across the country. Now, more than ten years later, we can make an assessment: how’d it work out for Gottschall? The answer: not well. (h/t The Paris Review Daily)