Whether or not you’re an avid collector of NYRB Classics like Stoner, you’ll enjoy this profile of series publisher Edwin Frank, conducted by Millions contributor and Oyster Editorial Director Kevin Nguyen. In the profile, Frank delves into the mindset that guides his choices, tying the rise of the American publishing series to the passage of the GI bill. Sample quote: “Someone seeing a book he or she always loved next to a book he or she had never heard about would say, ‘Wait that’s the book I always loved and it’s back in print, maybe I should buy this one too.’”
“My Blake, the radical visionary poet of the 1960s, seems almost old-fashioned now. I realize how many other Blakes there have been, both before and since.” Richard Blake writes about the greatness of William Blake(s). Need more poetry? Check out our On Poetry column.
In Florida, legislators are wondering whether or not they should raise tuition costs for students studying the humanities, or really anything other than STEM fields. Likewise, James Dyson (yes, the vacuum guy) bemoans Britain’s abundance of “students choosing to read humanities at university.” As a rejoinder, one New Statesman blogger notes that the study of humanities does not inhibit technological innovation, and that as a bonus, “we gain from having people who reshape our cultural landscape and put things in new contexts.”
The publishing industry is roughly 86% white. Yet comparative titles, or “book comps,” are whiter still, the L.A. Review of Books has found, arguing that this makes it exceptionally difficult for writers of color to place their books with imprints at Big Five publishers. “Comps,” in other words, “perpetuate the status quo.” Here’s how.
David Lipsky writes for Harper’s about Letters to Véra, which collects Vladimir Nabokov’s letters to his wife of fifty-two years. As he puts it, “Companion, agent, live-in editor, bodyguard, and the dedicatee of almost all her husband’s books, Véra Nabokov, née Slonim, has reached a strange elevation in our cultural sky.”