There are many flavors of noir, but the one that may be the most relevant to our lives today, Julia Ingalls argues, is corporate noir, which often takes the form of science fiction. At the LARB, she writes about several examples of the genre, including Alan Glynn’s Graveland and Natsuo Kirino’s Out.
The Guardian‘s Max Liu highlights several rising star Asian American authors, including Year in Reading 2017 participant Jenny Zhang. “After years on the peripheries of US fiction and poetry, Asian American authors have stepped into the spotlight during 2017. Books by writers of east and south-east Asian heritage are one of the hottest trends this year. […] Transcultural writers, born to immigrant parents in the US or immigrants themselves as children, they are channelling their experiences into writing that, with perfect historical timing, challenges readers to resist attacks on immigrants’ rights and to see refugees as individuals with unique stories.”
David Roberts spent 12 hours in front of a screen everyday, frequently hit the daily tweet limit, and saw “every sunset as a potential Instagram.” So he decided to quit the internet for a year and lived to tell the tale for Outside. Yet disconnecting isn’t as easy as signing off Twitter. “One striking feature of the digital-self-help literature is that it treats distraction, overload, and frazzlement almost entirely as personal challenges. If you’re stressed out and unable to concentrate, you’re not enlightened enough. Meditate harder.” Pair with: What’s it like to be from the last generation to remember life before the internet and our own Edan Lepucki’s (slightly shorter) social media detox.
Ohio poet Stanley Gebhardt accused Violent J, a member of Insane Clown Posse, of stealing his poem, “But You Didn’t,” nine years ago and attempting to pass it off as his own. The poem was originally published in A 2nd Helping of Chicken Soup for the Soul. Bonus: Kent Russell’s dispatch from “The Gathering of the Juggalos.”