Among the breadcrumbs doled out in this GQ slideshow/interview with Paris Review editor Lorin Stein is this: John Jeremiah Sullivan helped him write his job application.
GQ Questions Lorin Stein
Penguin Postcards
If we were to buy ourselves a gift this year, it would be Penguin’s “One Hundred Book Covers in One Box” postcard set.
May the Odds Be Ever in Your Favor
Leave the marshmallows at home, and bring your bow and arrow to summer camp instead. In Largo, Florida, the Country Day School created a camp based on The Hunger Games, where campers play intense games of capture the flag. Don’t worry, killing your fellow campers isn’t allowed.
Education in America
In The New York Review of Books, Anthony Grafton has a long piece on the issues facing the American university system. I’ve previously linked to Malcolm Harris‘ excellent n+1 piece on the “higher education bubble,” but this infographic vividly illustrates that same inflation.
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They call it an accident, a catastrophe. But it was a war.
n+1 publishes a chilling personal account of the Chernobyl nuclear disaster, as the crisis mounts at Japan’s Fukushima Daiichi nuclear power plant.
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*Cricket*
“It’s a book about fathers that has few good ones on display. It’s a book about language that cannot decide among many. It’s a book about bargains in which no character makes a wise one.” On Aravind Adiga’s new novel Selection Day.
Some Choice DFW Links
GQ offers an insightful interview with The New Yorker‘s Deborah Treisman on the subject of editing David Foster Wallace…while elsewhere, the German translation of Infinite Jest – Un Endlicher Spass – becomes an unlikely hit. (via)
Dispatch from Italy
Over at Asymptote Journal, Aamer Hussein discusses three well-kept Italian secrets who aren’t Elena Ferrante. Pair with Cora Currier’s Millions essay on reading Italy through Ferrante’s books.
The Life of the Artist
“In the imposed rhythm of the day, there wasn’t the time to step back and appraise my ideas, to delete paragraphs, to question my identity. Whether or not I was a writer was temporarily immaterial, because I was writing.” Adam Dalva contemplates life at an artists’ residency. For more of his writing, check out his essay on Donna Tartt’s The Goldfinch for The Millions.