A couple weeks ago, Matt Ashby and Brendan Carroll argued in a Salon piece that David Foster Wallace, who wrote an essay about the television and irony back in the early ‘90s, presciently diagnosed the danger of snark in our own age. Now Peter Finocchiaro, a senior editor at Salon, argues instead that we need irony more than we ever have. You could also read A-J Aronstein’s notes from the DFW Symposium.
Not What You Said Before
The Cool Kids
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Poems Come Out
Recommended Reading: Adam Fitzgerald at LitHub interviews Deborah Landau about her newest collection of poetry, The Uses of the Body. Read it with this Leah Falk piece from The Millions about poets reading aloud.
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Does this mean Will Ferrell will play Steve Eisman?
The man who directed such Will Ferrell vehicles as Anchorman, Talladega Nights, and Step Brothers is turning toward the world of finance for his next movie project. That’s right. Adam McKay is adapting Michael Lewis’s The Big Short for the big screen.
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Zbigniew Herbert on Leonardo da Vinci
With the publication of Polish poet Zbigniew Herbert’s The Collected Prose: 1948-1998 this week, the New York Review of Books Blog posts his essay on Leonardo da Vinci.
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Hidebound
A couple months ago, I linked to a new Granta series in which authors select one of their own first sentences and recall how they came to it. This week, Patrick French explains the first sentence of a nonfiction piece titled “After the War” (available in Granta 125) by digging up an old photograph that shows how the Edwardian English were “stitched and machined into a grid of expectations.”
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The Applicant
“‘Poetry, I feel,” said Sylvia Plath in a radio interview in 1962, the year before her suicide, ‘is a tyrannical discipline. You’ve got to go so far so fast in such a small space, you’ve got to burn away all the peripherals.'” Fifty years after her death, an argument for close reading.
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Little Emotions in the Person
Recommended Reading: On Laura Ingalls Wilder’s Little House on the Prairie and the art of hiding one’s feelings — whether helpful or detrimental.
Two Takes on Red Doc>
If you enjoyed the profile of Anne Carson in the latest New York Times Magazine – fictitious “ice bats” notwithstanding – you’re going to really love Parul Sehgal and Nathan Huffstutter’s two takes on Red Doc>. The work, Sehgal writes, is “suspended between what it is and what we want it to be.” And also, writes Huffstutter, it’s a work that “courses with a wit shot through with intelligence and humility.”