“Crossover words are a tremendous testament to our awesome ability to shape the language as we use it. To master our fears. To take our terror and use it to build something terrific.” – Arika Okrent writes for The Week about irony, slang and the way language changes.
"The American poem was not in a grave at that time; not by any measure. There was achievement, experiment, excitement. But there was also confinement. It could be felt in the air, in an ethos of conditional acceptance. A young woman poet was not yet a familiar sight. When Auden remarked about [Adrienne] Rich’s poems, after choosing her as a Yale Younger Poet, that they were 'neatly and modestly dressed,' it sounded more like a counsel for the nursery than acclaim for a new writer.” At The New Republic, Eavan Boland reflects on the legacy of the poet, whose posthumous collection, Later Poems, came out last week.
Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the "Elmore Leonard paradox" in The Atlantic. "Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir." Pair with: Our own Bill Morris's essay on why Leonard was such a good writer.
Here are the first lines of the new Gary Shteyngart novel, Super Sad True Love Story, forthcoming in July: "Today I've made a major decision: I am never going to die. Others will die around me. They will be nullified. Nothing of their personality will remain. The light switch will be turned off."