Ultra-niche magazines operate a bit differently than their larger and more mainstream cousins. Magazines like Donkey Talk, which caters exclusively to donkey hobbyists, aim for tiny audiences of a few hundred to a few thousand readers. They also cultivate their own jargon — one magazine, The Mountain Astrologer, tosses the word “quincunx” around as casually as “email.”
Not for Everyone
Not Your Father’s Canon
Electric Literature has launched the “Read More Women” series—a “stripped-down, feminist version” of the New York Times “By the Book” column—which will feature writers recommending books by women and non-binary authors. First up in the series is Maria Dahvana Headley, author of The Mere Wife.
Steal Like a Gypsy
The winner of this year’s Dzanc Books/Disquiet International Literary Program Award for fiction is Sofi Stambo. Here’s a rather savage piece of hers over at Guernica Magazine.
Another View
“But we are lured into believing that the first person is the manifestation of an authentic self. Or: we fall for the first person because we feel so little coherence in our own internal lives, and immersing ourselves in a sustained first person narrative gives us the false reassurance of an illusion.”
Tuesday New Release Day: Haddon, Walter, Lanchester, Tóibín, Ondaatje
New this week are Mark Haddon’s The Red House, Jess Walter’s Beautiful Ruins, John Lanchester’s Capital, and a collection of essays from Colm Tóibín, New Ways to Kill Your Mother: Writers and Their Families. Michael Ondaatje’s The Cat’s Table is now out in paperback.
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Lucky Writers
Catherine Banner writes on the “privilege and luck it takes to live the writer’s life.” Pair with this Millions essay on not quitting the writing life.
Turkey Days
Happy almost-Thanksgiving to our American readers! To celebrate, why not whip up a nice bowl of Everyone Get the Hell Out of of the Kitchen Right Now Before I Kill All of You Cranberry-Orange Dressing and pray that none of your other recipes have mistakes in them.
Poison in the Plot
Agatha Christie could actually kill you. She studied pharmacology and learned how to create poisons, which led to her use of poisons in her novels. You could also read Daniel Friedman’s essay on solving the mystery of how to close a crime novel.
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An Industry of Translation
“As for the charge that [Constance] Garnett writes in an outdated language, yes, here and there she uses words and phrases that no one uses today, but not many of them. We find the same sprinkling of outdated words and phrases in the novels of Trollope and Dickens and George Eliot. Should they, too, be rewritten for modern sensibilities? (Would u really want that?)” It’s shaping up to be a day of passionate defenses. Writing for the New York Review of Books, Janet Malcom urges readers to put down their Pevear/Volokhonsky translations of Russian classics and pick Constance Garnett’s back up again.
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