Recommended Reading: Brian Oliu’s “Owen Hart & The Finite Life of Ropes,” which is damn sure the best piece of writing you’ll ever read about a professional wrestler’s death.
“It is a sad irony that the snake’s rattle, which functions as a warning device, is widely regarded as a bellicose drumroll, or war-cry, instead. It may well have been in a mood of remorse for having killed a rattlesnake on impulse that [William] Bartram, vowing solemnly that he ‘would never again be accessory to the death of a rattle snake,’ painted his marvelous portrait of a coiled rattler.” Christopher Benfey on Rattlesnake Island, a sanctuary set up to protect the woodland serpents from their greatest danger — us.
The saying goes that “the road to hell is paved with adverbs,” but at Beyond the Margins Robin Black makes the opposite argument. “I want you to love adverbs,” she begins, but “more than that, I want you to believe, as I do, that adverbs are the part of speech that best captures the human condition.”
“Since his release, in 2005, he has graduated from the University of Maryland and Warren Wilson College’s low-residency M.F.A. program, been a Radcliffe Fellow at Harvard, received an N.A.A.C.P. Image Award, got married, and had two sons. ‘I’ve added some fancy stars … so now I’m like Felon Plus.’” Take a look at this fascinating New Yorker profile of Reginald Dwayne Betts: poet, memoirist, ex-convict-cum-lawyer, and family man.
Tonight at the Pacific Standard Fiction Series in Brooklyn, Victor LaValle, author of Big Machine (which, according to Edan boasts “one of the best voices to come out of literature in the last…oh, ever, probably”), will be reading with Robert Lopez, author of Kamby Bolongo Mean River. As usual, I’ll be hosting; it would be great to see you there. For more information, see Time Out New York.
Gawker.com will end operations next week – and this time it’s for good. Over at the New Yorker, Jia Solentino writes about what made Gawker singular in the online world. “A lively, difficult brand of unevenness was inherent in Gawker’s work, and this still seems to confound people: Why, if it took its work seriously, would it run ‘some of both the best and worst of 21st century journalism,’” as Salon put it, and all under the same name?”