Attention literature-lovers and burrito-consumers: Chipotle has announced the second batch of writers, including Barbara Kingsolver, Amy Tan, and Neil Gaiman, for its Cultivating Thought series, which places short pieces of writing on soda cups and paper bags (we covered the first series here).
“I began to wonder: what would a manifesto for bad poetry look like? Would it differ either superficially or deeply from the art’s graver manifestos? It really wouldn’t have to. It would merely have to persuade, and persuasion sounds very much the same whether it is honest or dishonest. If it was any good it would hold great attractiveness as a snappy piece of writing, but, if followed, it would be certain to produce bad poetry. Some harmless sophistry. In this it would be more effective than any positive manifesto, because, if guided well, no-one who sets out to write a bad poem is going to accidentally write an excellent one.” Erik Kennedy lays out a manifesto for bad poetry, titled “Precepts for Perfection in Poetry,” for The Rumpus. For a counterpoint, pair with our own Nick Ripatrazone‘s look at very good and very sad poetry, “The Saddest Poem Ever Written.”
Out this week: Heroes of the Frontier by Dave Eggers; The Unseen World by Liz Moore; Leaving Lucy Pear by Anna Solomon; Bad Faith by Theodore Wheeler; My Name Is Leon by Kit de Waal; and Home Field by our own Hannah Gersen (who we interviewed). For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
Jane Austen is a rare figure. Acclaimed as one of the most brilliant authors in modern history, she has a popularity that few of her peers can match, as evidenced by her posthumous sales and huge numbers of dedicated fans. How did her work hit the sweet spot of broad appeal and scholarly fame? In the WSJ, Alexander McCall Smith provides a theory. (h/t The Paris Review Daily)
Chances are that your mental image of Pavlov is that of a man giving commands to a barking dog. However, as a new biography makes clear, the doctor who brought us his very own adjective has a far more complicated legacy. In The New Yorker, Michael Specter writes about the man behind the bell.