Last semester, at UC Riverside, the novelist Susan Straight began the class “Mixed-Race Literature and the American Experience” with a simple question: “How many of you are often asked, What are you?” In an essay about the class, she relates what they learned, which includes the observation that hair is weirdly important in America. (Related: The Millions published an essay by Straight on Toni Morrison’s Sula.)
Where You From?
Introducing ‘The Staff Recommends’
The Millions is excited to be a founding member of a new ad venture called The Staff Recommends, John Warner and Andrew Womack, both of whom are associated with The Morning News and its wonderful Tournament of Books are behind the effort. The Staff Recommends is unique in that it only features books that “pass muster” with Warner, the venture’s editor and ombudsman. The first selection can be seen at the end of our “Recent Articles” section on The Millions front page and also in the sidebar on article pages. Enjoy!
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“A quiet hero of contemporary literature”
At The Paris Review, a remembrance of Evan S. Connell, whose work has been cited as an influence by Jonathan Franzen, Lydia Davis and Zadie Smith.
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Sleep Talkin’ Man
“I can’t control the kittens. Too many whiskers! Too many whiskers!” A woman writes down everything her husband says in his sleep. Why isn’t this on Twitter? (via attackattack.tumblr.com)
Duck and Cover
“In my mind, the encircled bird on the cover of the 1978 Pocket Books edition of Play It As It Lays immediately recalled another: the mockingjay pin given to Katniss Everdeen at the start of Suzanne Collins’s The Hunger Games.” At Paper Monument: the importance of book covers.
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Documenting Death
“Maurice Sendak drew his partner Eugene after he died, as he had drawn his family members when they were dying. The moment is one he was compelled to capture, pin down, understand, see. Where many— maybe most—people look away, he wanted to render. He was very wrapped up in the goodbye, the flight, the loss; it was almost Victorian, to be so deeply entranced with the moment of death, the instinct to preserve or document it. It’s also the artist’s impulse: to turn something terrible into art, to take something you are terrified of and heartbroken by and make it into something else. For the time it takes to draw what is in front of you, you are not helpless or a bystander or bereft: You are doing your job.” On Maurice Sendak and the art of death.
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