A Pittsburgh-based nonprofit is offering free housing and stipends to “foreign-born scribes who endured imprisonment, or worse, in their home countries.”
“Classroom lessons may slip quickly through students’ fingers, but the classroom experience lingers in memory. Each teacher offers students a different model of authority and justice. We set our own standards of fairness and sometimes fail to honor them. A teacher swings a heavy club, and we can leave big, purple bruises if we’re not careful.” Ben Orlin writes for The Atlantic about becoming an unfair teacher and then resolving to improve. For more thoughts about teaching, be sure to check out our own Nick Ripatrazone‘s “55 Thoughts for English Teachers.“
Attention! The finalists for the 2016 Oddest Book Title of the Year award have been announced — my personal favorite has to be Reading From Behind: A Cultural History of the Anus. Pair with the ever exciting Bad Sex in Fiction award and you’ve got yourself your own little literary Oscars party.
Year in Reading contributor Kevin Smokler’s new essay collection, Practical Classics, explores the benefits of revisiting the first books you read (even if you hated them). In fact, the difficult and excruciating books have a particular value. “Books aren’t all supposed to be our best friends,” says Smokler in a new Rumpus interview. “Sometimes they’re supposed to be that difficult friend who encourages us to do things that we don’t feel are rational or grown-up.”
When The Beatles made Rubber Soul, the band probably didn’t realize it would inspire some of the greatest contemporary fiction. First, Haruki Murakami named his novel Norwegian Wood. Now, “Drive My Car” inspired his new short story. Bungeishunju published the story today, but English readers are still waiting on the translation. Until then, we can always listen to the album. Pair with: Our essay on the soundtracks behind books.
“This notion of investigation offers an alternative to confession. Its goal isn’t sympathy or forgiveness. Life is not personal. Life is evidence. It’s fodder for argument. To put the “I” to work this way invites a different intimacy—not voyeuristic communion but collaborative inquiry, author and reader facing the same questions from inside their inevitably messy lives.” Year in Reading alum Leslie Jamison writes for The Atlantic about alternatives to the confessional mode in literature.