Now that the Library of Congress is shut down, it’s as good a time as any to remember why we have it in the first place. At Brain Pickings, Maria Popova looks through a collection of vintage catalog cards, two of which include early entries for A Room of One’s Own and Ulysses.
“APRIL is the cruellest month, breeding/Lilacs out of the dead land,/we’re graduating in may/do we seriously still have to do the reading/theres like three weeks left you cant be serious.” You know T.S. Eliot’s “The Wasteland,” but have you read Mallory Ortberg’s “The Teenage Wasteland” at The Toast?
“American television has been a juvenile medium for most of its existence,” David Simon tells Salon. This defense of ‘Treme’ was published three days after David Thier called the show “deeply boring” in The Atlantic. “There is nothing New Orleans loves so much as New Orleans” Thier says, “but the show can’t get past the desire to be authentic.” Sarah Broom, during last May’s PEN World Voices Festival, said “this ‘love of place’ is really just from people who are stuck in a lots of ways.” But hey, at least the show’s attention to detail is admirable.
At Condalmo, Matthew Tiffany‘s review of David Lipsky’s new book, Although Of Course You End Up Becoming Yourself: A Road Trip With David Foster Wallace: “You can’t go more than two or three pages without Lipsky’s shadow falling over the text. And you aren’t reading this book for the Lipsky, are you? The biggest problem here is that, like it or not, his fingerprints are all over it. And I didn’t like it.”
“These poets foreground elaborate and mythically transgressive evocations of eros in which stylistic excesses counter the violent excesses of homophobia and racial marginalization. The queer Baroque is, fundamentally, a poetry of radical ambivalence.” On Prelude to Bruise by Saeed Jones.