“Seidel scared himself with poetry, and us too. How had he done it?” John Jeremiah Sullivan presented the Hadada Award to Frederick Seidel at The Paris Review’s Spring Revel last month. You can read the full text of his speech and three of Seidel’s poems. This seems to be a much better week for Sullivan because he also just won the James Beard Foundation’s MFK Fisher Distinguished Writing Award for his essay “I Placed a Jar in Tennessee.”
“Writers are outsiders, and usually not by their own choosing. It’s why they’re writers. If they didn’t feel alienated from human experience, they wouldn’t feel so drawn to writing to make sense of their lives. It’s not the outsider’s facility for language that makes her a writer — many a student body president or homecoming queen can turn a phrase — but her ability to howl at the moon, on the page.” Karen Karbo writes for Powell’s Books’s blog about how much publishing has changed in the last 20-some years, but she also has a lot of great words about why people would want to deal with writing and publishing in the first place. Pair her smart essay with our own Nick Ripatrazone‘s piece “Practical Art: On Teaching the Business of Creative Writing.”
Does a writer make the city or does the city make the writer? At Grantland, Michael Weinreb discusses why Elmore Leonard is the ultimate Motor City writer and discovers Leonard’s Detroit. “Without his books, the city would still have suffered the same hellish decline. But because of him, that suffering was rendered into an art form all its own.” Pair with: Our own Bill Morris writing against Detroit’s ruin porn reputation.
At The Nervous Breakdown, an excerpt of Still Writing, the new book by Year in Reading alum Dani Shapiro. The excerpt comes on the heels of one of the site’s trademark self-interviews, in which the author laments of herself as interviewer, “You don’t pull any punches, do you?” (Related: our own Hannah Gersen talked with Shapiro about her book.)
China Miéville on apocalyptic London for The New York Times Magazine: “Standing so straight on a raised dais, in so immaculate a uniform that he looks like a ventriloquist’s dummy, the Metropolitan Police Service’s new commissioner, Bernard Hogan-Howe, tells the conference in an avuncular voice about his plan for ‘total policing. ‘ He is enthusiastic but nebulous. Details are vague.”