Last week, I followed up the news that “because” may now be used as a preposition by noting that the American Dialect Society had named it their Word of the Year. Now, in The New Republic, John McWhorter argues that the new preposition is used to signal empathy and warmth. (Related: Fiona Maazel on the dangers of bad grammar.)
As part of their Literary Ladies Cage Fight series, The Butter pitted two of Shakespeare’s most well-known characters against each other, staging contests between Hamlet’s Ophelia and Romeo and Juliet’s Juliet. Who won, you ask? Only one way to find out. You could also read Stefanie Peters on women and Shakespeare’s plays.
Following the example of Flaubert, whose Dictionary of Received Ideas compiled the clichés of its day, Teju Cole set out on Monday to record his own clichés on Twitter. At Page-Turner, he sums up his experiment in a blog post. (You may recall that this is not the first time Cole has won acclaim for his Twitter account.)
Colm Tóibín’s new book on Elizabeth Bishop is unusually hard to categorize. Part “primer,” part “personal reflection,” in Jonathan Farmer’s words, it moves back and forth between analysis and lyricism, alternating passages of beauty with nuts-and-bolts guides to Bishop’s poems. In Slate, Farmer tries to nail it down. You could also read our own Michael Bourne’s review of Tóibín’s The Master.
The 100th anniversary of the publication of James Joyce’s Dubliners occurs this month, and the occasion is being celebrated with the launch of Dubliners 100, a “reimagining and rewriting of the 15 original stories by a range of well-established and promising writers.” Among the modern writers lending their talents to the homage is Paul Murray (Skippy Dies), Donal Ryan (The Spinning Heart), and Pat McCabe (Butcher Boy).