“Most of the time I think of the self as a snare, and I don’t like being trapped in it. I try to reach out beyond my pittance of experience and connect to the world, but it turns out one way to do that is to be honest and accurate about my own life.” Leslie Jamison interviews Charles D’Ambrosio for The New Yorker. Pair with our own Hannah Gersen‘s review of D’Ambrosio’s Loitering.
Meanwhile, in the commonwealth of Virginia, HB 516 is currently sailing through state legislature. What began as one mother's outraged response to her 17-year-old son's AP English assignment–reading Beloved by Toni Morrison–has morphed into a bill which would require school districts to do three things: flag any "sexually explicit" assigned material, allow parents to review all assigned readings to assess perceived levels of sexual explicitness, and finally, require teachers to provide alternate readings/avenues of study for any students whose parents deem particular content too inappropriate.
It’s a common saying among actors that the script does most of the work. Which raises an interesting question: is it possible for a great writer to make art out of a bad story? At The Kenyon Review’s blog, Amit Majmudar says it is, using Shakespeare as proof. Related: five experts on the Bard’s greatest plays.
“It all adds up to a fascinating portrait-of-the-artist-on-the-make in the booming 1950s. And it makes you wish the stories were better.” Year-in-Reading alum Jess Walter reviews a new (911-page) collection of stories by Kurt Vonnegut. See also: “2 B R 0 2 B”, a “lost” Vonnegut story that first appeared in the sci-fi journal Worlds of If in January 1962.
"I feel nothing. I think: What an ugly place for it to happen. I call it The Accident. I didn’t hear, or see, or feel any of it, or if I did, I stored it somewhere irretrievable even to me." Gloria Harrison's essay "Where the Highway Splits" stuns over at The Rumpus.