“There are dangers for an artist in any academic environment,” says former Poetry editor Christian Wiman, who now teaches at the Yale Institute of Sacred Music. “Academia rewards people who know their own minds and have developed an ironclad confidence in speaking them. That kind of assurance is death for an artist.”
Out this week: The Mothers by Brit Bennett; The Red Car by Marcy Dermansky; Him, Me, Muhammad Ali by Randa Jarrar; Future Sex by Emily Witt; Hungry Heart by Jennifer Weiner; Upstream by Mary Oliver; and Hag-Seed by Margaret Atwood. For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
" I love the shape of words, I love the comet-tail histories of words. I love the roll and crunch of syllables in my mouth." In Electric Literature, Laura van den Berg interviews R.O. Kwon about religious fanaticism, "unknowing," and her upcoming debut novel, The Incendiaries. Pair with: Kwon's 2017 Year in Reading.
You may have heard that Vulture editor Adam Sternbergh was nominated for an Edgar Award for his book Shovel Ready last week. Now, to give Vulture readers a taste of his literary style, he’s published an annotated excerpt of the sequel Near Enemy, which came out earlier this month. As the introduction puts it, the excerpt includes “thoughts on history's first murder, the dubious appeal of Pepé Le Pew, and just how crazy New York apartment locks used to be.”