“We envision a library full of blood,” reads the “About” section of the Black Cake Records website. “We want the very best blood, & we want it everywhere.” Intrigued? You should be. The project, begun in 2013, serves as “a forum for producing & disseminating audio archives of contemporary poets reading their work.” For an introduction, you can start with “Trench Mouth” by Danniel Schoonebeek, whose debut collection, American Barricade, was published last month by YesYes Books.
From one muckracker to another: Thomas Frank on Mailer and Miami.Fear and Loathing at Build-a-Bear WorkshopThe folks at n+1 on Obama and the culture war reduxSarah, the book, nibbles at the edges of Amazon’s Top 10, sparking its own kind of culture war in the reviews section (scroll down)Can Palin! The Musical be far behind?A new tool for mapping bookstores, chain and indieFor Salvadoran novelist Horacio Castellanos Moya, politics are a genetic burdenFrank O’Hara…yeah, New York will do that to youJonathan Yardley on the venerable Elements of StyleDon’t blame me…I voted for Kodos
For the most part, Alexis de Tocqueville had good things to say about the young United States in his book Democracy in America, which is probably why we tend to forget that he thought Americans weren’t funny. What de Tocqueville missed, according to a new history of American humor, is the extent to which American funniness emerged from subversive groups of outsiders. In Bookforum, Ben Schwartz takes stock of the arguments in American Fun.