“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.
With news of this year’s winner fresh off the press, it’s easy to see how the Literary Review’s “Bad Sex Awards” are an annual delight to many readers (as well as an annual horror to several authors). But are they also counter-productive? As one former “winner” of the award asks, is the Bad Sex Award “anything more than a sort of moral outrage dressed up as a quest for high standards in writing?”
While on the publicity tour for his latest book, Boomerang: Travels in the New Third World, Michael Lewis stops by NPR's "Fresh Air" to talk Greece, the Euro, California's "third world problems," and the Occupy Wall Street protests. The author also gets a nice write-up in the latest New York Magazine, and his interview on last night's "The Daily Show" ran so long, they had to put the full version online. (Start "The Daily Show"'s clip at ~21:50 for the interview.)
A memoir by Winnie-the-Pooh author A.A. Milne shows a writer frustrated at how his creation undermined his adult literary cred. Republished 70 years after it went out of print, It's Too Late Now reveals a trapped Milne wishing for more control over his own narrative: “I wanted to escape from [children’s books] as I had once wanted to escape from Punch; as I have always wanted to escape. In vain. England expects the writer, like the cobbler, to stick to his last.”
Last month, Austin Bunn published The Brink, his debut collection of short stories. The stories, as Ryan Krull describes them in The Rumpus, hinge on pushing characters to some personal limit of behavior. In an interview, Bunn talks about why that is, as well as his new short film, In the Hollow.