“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.”
"Secret societies, camorras, mafias, et al., have no place in a detective story. To be sure, the murderer in a detective novel should be given a sporting chance; but it is going too far to grant him a secret society to fall back on. No high-class, self-respecting murderer would want such odds." -From the much-quoted 1928 essay by SS Van Dine, noted art critic and mystery writer, on the 20 rules for writing detective stories. (via Guardian)
The media world is abuzz about a former Harper's Bazaar intern suing parent company Hearst for allegedly violating labor laws for not paying her (With reactions ranging from "She'll never work in this town again." to "Good for her. It's about time!"). At least she didn't get sucked into HuffPo's aggregation turbine.
Back to the Future II originally featured a very different Doc Brown from the one that made the final cut. Behold Doc’s 1967 alias, his hippie parents, and his apparent affinity for motorcycles in this 147-page script (PDF) that was later re-purposed into the movie we know today. (The Bizarro Doc action picks up around page 90.)
"I don’t start with disorder; I start with the tradition. If you’re not trained in the tradition, then deconstruction means nothing." On Derrida, Foucault, and the deconstructionist defense of the canon.
In an interview with Jonathan Lethem, the NBCC's Jane Ciabaratti offers, inter alia, a sympathetic reading of Chronic City; both have more affection than Kakutani did for what Lethem calls "the claptrap contraption plot I invented." Meanwhile, The Wall Street Journal, in a flash of inspiration, assigns the book to the estimable Alexander Theroux - the only non-Latin writer who can credibly use the word "prosopographical" in a review. (But, attn editor: "not a jot" twice? in subsequent paragraphs?) A marathon bi-borough reading of the entire novel continues tonight at McNally Jackson.