Fifty years ago, Frank O’Hara released Lunch Poems, a collection of remarkably informal poetry that rebuked the more academic verse of his day. As a tribute, Dwight Garner writes about the importance of the book in the Times, arguing that O’Hara’s grasp of the zeitgeist is the reason he appeared on Mad Men. For more on the poet’s legacy, take a look at Christopher Richards on O’Hara’s lessons for being gay.
Wes Anderson really likes trains, and not just any trains -- the director of The Grand Budapest Hotel is a big fan of riding on Amtrak. “It's one thing to be stuck together for the long haul to New Zealand in the upper deck of a 747 for 16 hours," he told a writer for the company’ s blog, "but it's an altogether different matter to hit the dining car three meals a day for two and a half days running onboard the Southwest Chief." This may be a good time to read our own Nick Ripatrazone's essay on writers and trains.
We tend to assume that life stories, in mentally healthy people, are concrete things, assembled from events that are hard to twist or distort. Yet all of us shape our own stories in ways we can’t always see. At The Atlantic, Julie Beck explores the idea that life stories, as we construct them, form integral parts of our personalities.
In memory of Peter Matthiessen, The Missouri Review has unlocked an interview with him from 1989. Matthiessen detailed the beginning of his writing career. "I started my first novel and sent off about four chapters and waited by the post office for praise to roll in, calls from Hollywood, everything. Finally my agent sent me a letter that said 'Dear Peter, James Fenimore Cooper wrote this a hundred and fifty years ago, only he wrote it better. Yours, Bernice.' I probably needed that; it was very healthy." For more Matthiessen, you can read one of his best travel essays or his new novel, In Paradise.