Coffee House Press recently announced it will be partnering with Emily Books, whose co-founder Emily Gould is a Year in Reading alum, to form their first imprint, which will publish two original titles a year. Their news pairs well with Electric Literature‘s “2015 Indie Press Preview.”
As we noted here recently about the rise and fall of Motown, the real issue was money — who earned it, who kept it, who never saw it. Now Barrett Strong, who co-wrote and sang the Detroit label’s first hit in 1959, “Money (That’s What I Want),” tells The New York Times that he never saw a penny of royalties for a song that became a classic and generated millions of dollars for the label. Strong’s story is the story of Motown boiled down to its bitter, ironic essence.
The correspondence of Vladimir Nabokov and the critic Edmund Wilson suffered from Wilson’s inability to appreciate Nabokov’s work. But by the spring of 1950, illness had affected both men to the point where a skilled correspondent in the ways of the U.S. mail became “a panacea to pain.”
The Naipaul Question, as Morgan Meis calls it, is simple: is V.S. Naipaul too offensive to be taken seriously? His recent biography includes scenes of abuse and moments of straightforward racism. But Meis thinks the issue is more complicated than whether Naipaul is a monster — the author is, in his phrasing, too “protean” to be pinned down.
That Kickstarter is offering more opportunities than ever to literary projects, from Coffee House Press’s Catstarter to the Joan Didion documentary to the Reading Rainbow spin-off, is indisputable. Now there’s yet another worthy cause turning to the crowd-sourcing platform in search of an audience: The Riveter, a magazine of longform journalism by women.
How’s your NCAA bracket doing? Busted? Well, maybe you should’ve picked your teams based on which ones turn the highest profit. The Atlantic analyzed the financial data and, voilà, their bracket correctly predicted nine of the teams in the Sweet Sixteen.