“These poets foreground elaborate and mythically transgressive evocations of eros in which stylistic excesses counter the violent excesses of homophobia and racial marginalization. The queer Baroque is, fundamentally, a poetry of radical ambivalence.” On Prelude to Bruise by Saeed Jones.
“I think that every novelist of the kind of novels that I write has in them maybe one really good book, but the trouble with so many novelists is that they keep on writing novels even when they run out of ideas.” Forrest Gump author Winston Groom on why it’s taken him 20 years to write his new novel. Pair with our recent three-way interview with writers Emily Barton, Alexander Chee, and Whitney Terrell, all of whom needed a decade for their most recent books.
Most of our discussions about changing the canon revolve around adding onetime marginalized writers. But there’s a flipside to this — who do we need to eject? In a Bookends column for the Times, James Parker and Francine Prose pick greats that are no longer great.
If you get bored on your daily commute, you might want to look at Derive, an app that generates random routes that give you new perspectives on your city. As The Common founder (and Millions contributor) Jennifer Acker puts it: “Let the French show you how to walk.”
“All poems of public grief are private poems first,” writes Mark Doty in his evaluation of Wisława Szymborska’s poem, “Photograph from September 11th.” Indeed, what Doty learned “over the course of those dozen years, was that the words one hammers out in private, in order to attempt some kind of sense, may end up being used by people in ways you could have never anticipated.”