You may have not known there’s a national arm wrestling championship. Joshua Davis found out when he saw an eye-catching flyer. When he found himself drafted onto Team USA, he turned the experience into his first big magazine piece. At The Rumpus, an interview with the author of Spare Parts.
“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.
Washington Post critic Ron Charles broke the news today that Thomas Pynchon will have a new book out from Penguin this fall called Bleeding Edge. Charles said the news was confirmed by two Penguin employees and that “everything is tentative” at this time.
If we are, as Adam Kirsch writes, in the midst of a golden age of essays, we might want to ask exactly which essays are proof of this golden age. His first three picks — My Heart is an Idiot, I Was Told There’d Be Cake and Pulphead — are unsurprising choices, but then it gets a bit more interesting when he looks at Sheila Heti’s latest novel. (You could also check out a few of our pieces on these books.)
At least two people were not pleased with John Jeremiah Sullivan’s recent cover story in the New York Times Magazine. In a letter to the New York Observer (and an expanded post on Google+), Susannah McCormick – daughter of renowned music historian Robert “Mack” McCormick – alleges that Sullivan and his research assistant “glibly” stole her father’s research in an act of “quasi theft.” In his response, Sullivan asserts that, “by hiding L. V. Thomas’s voice, by refusing for over half a century to credit or even so much as name the two singers who created those recordings while they or their contemporaries were alive, Mack McCormick committed a theft—through negligence or writer’s block or whatever reasons of his own—far graver than my citation of interviews L.V. granted him decades ago.”