“I don’t start with disorder; I start with the tradition. If you’re not trained in the tradition, then deconstruction means nothing.” On Derrida, Foucault, and the deconstructionist defense of the canon.
My essay on Zadie Foster Franzenides and the current state of literary aesthetics is in this weekend’s New York Times Magazine.
Last week we mentioned that Chimamanda Ngozi Adichie‘s novel Americanah will, all going well, become a movie starring Lupita Nyong’o. We also mentioned that she wrote about her Year in Reading for us last year. But wait, here’s more! The Rumpus has interviewed Adichie about Americanah, and it’s well worth the read.
There’s a pedestrian bridge spanning Hennepin Avenue in Minneapolis that features a John Ashbery poem written on its steel beams. This is a fabulous slideshow of photos showing the poem. Via been thinking.
“Imaginary Oklahoma” is an ongoing platform at This Land Press in which “some of today’s most important and influential writers combine with artists from outside the state [of Oklahoma] to provide a fictional take on this place we call home.” New Yorker editor, author of Celebrity Chekhov, and chart enthusiast Ben Greenman has written a piece entitled “Always and Forever.”
“Hamlet’s famous last words—’The rest is silence’—are less punning than ironic, since both his parting, eloquent gasps and his death play out amidst a growing bassline beat. ‘What warlike noise is this?’ Hamlet asks as the poison takes hold. The drums and commotion signal the arrival of the Norwegian crown prince Fortinbras, who bursts into the quiet of the massacred Danish court. From the beginning of Hamlet, we’re taught to think of sovereignty as a manipulation of sound waves.” What does silence mean in this age of constant digital noise? The Literary Hub takes a look.