Claudia Rankine’s new book of poetry, Citizen, is getting a lot of attention in part due to its meditations on race in modern America. In the latest issue of BOMB, Lauren Berlant interviews the poet, asking her about micro-aggressions, Kara Walker and the implicit tone of the word “citizen.”
Civic Duty
A Century of Cheever
Allan Gurganus commemorates the 100th anniversary of his teacher and friend John Cheever’s birth. “Cheever, now unfairly known as the gloomy, sodden satyr of suburbia,” Gurganus writes, “was at least rarely gloomy. Fact is he was more fun per minute than is legal in a nation this Republican.”
YiR, BOMB Edition
“It’s not often that I find myself brandishing my copy and yelling, ‘This book.This book! at my husband, but I had that pleasant, awed, envy-inducing reaction.” We obviously love a good end-of-year reading roundup, and BOMB Magazine has “Looking Back on 2016” with entries from Jonathan Lethem, Will Chancellor, and other artists, writers, musicians, and filmmakers.
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“Poems Are Unimportant”
“Poems are unimportant,” said Boris Pasternak, author of Doctor Zhivago, though Kate Angus and our own Nick Ripatrazone certainly disagree.
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An Opium Eater, Reconsidered
At The Washington Post, Michael Dirda on the dissolute genius Thomas De Quincey (opium addict, original chronicler of addiction, master of the macabre, prolific C19th essayist).
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The Millions at the Critical Hit Awards
Hooray! Electric Literature has declared Jesse Jarnow’s Millions review of Fear of Music the winner in the category of Best Deconstruction for their occasional Critical Hit Awards.
Law and Order: Library Edition
“We don’t want to run a for-profit business, or even a break-even business that’s based on income. It’s something that would not return a great deal of money for us and would create an adversarial role.” The Huffington Post reports on the growing number of libraries dropping overdue fines. Pair with Daniel Penev on why public libraries have a more vital role to play in the culture than ever before.
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This Is Just To Say
“’This Is Just To Say’ is magical because of this personal, endless quality to it,” writes Jezebel’s Kate Dries in her exploration of the poem’s prevalence among Twitter comedians. Meanwhile Andrew Epstein remarks in a supplementary blog post, “I guess this is just to say that the Jezebel piece reminded me that Kenneth Koch was remixing and spoofing [William Carlos] Williams almost 50 years before anyone ever dreamt of Twitter.”