Joshua Rothman writes for The New Yorker about Virginia Woolf, Mrs. Dalloway, privacy and “a gift that you’ve been given, which you must hold onto and treasure but never open.”
“Samuel Greenberg belongs in the pantheon of literary manqués,” writes Jacob Silverman. The poet was a favorite of Hart Crane, who described him as “a Rimbaud in embryo.” But did Crane take his adoration too far? Did he in fact “remix,” re-purpose, or plagiarize some of Greenberg’s work?
For Ploughshares, Emilia Phillips writes about “the corporeality of the lyric.” As she puts it, For some, the act of writing about the body is not necessarily the inclusion of the body as a poem’s subject but the body as the vehicle for the poem. Think of how repetition recalls movement, dancing. Think of how good a rhyme feels in the mouth.”
For two weeks last summer, Colin Dickey sailed around the coast of Svalbard in the Arctic Circle. On one occasion, his voyage was stalled by heavy fog, and his group was obligated to anchor near Amsterdamøya. As one does, he used the occasion to ruminate about scurvy – or “polar night disease” – which claimed the lives of many sailors buried in the area’s graves.
Our own Lydia Kiesling writes for The New Yorker about workplace fiction by women. As she puts it, “If the author is a woman, workplace fiction is also domestic fiction, easily disguised as ‘chick lit,’ ‘girlfriend literature,’ or even ‘erotica.’ Regardless of the packaging, these books provide mapping, contextualizing, and rich illustration of women’s working lives.” For more of her writing, check out her essay on the San Francisco housing market for The Millions.
Congratulations are in order for Vanessa Veselka: PEN American has awarded her debut novel Zazen the Robert W. Bingham Prize. I first heard about the novel last year, from what was then the brand-spanking-new LARB, though this Minnesota Public Radio profile of Veselka is also a great way to get acquainted with her exciting talents.