There’s a tiff going on between Ursula le Guin and Kazuo Ishiguro. After le Guin accused Ishiguro of “despising” the fantasy genre, following an interview with the Times in which he wondered aloud if his readers would be prejudiced against his latest book, Ishiguro defended himself, claiming that he is “firmly on the side of the ogres and the pixies.” You can read a full rundown in The Guardian.
“Sitting down to read The Actress, Amy Sohn’s newest novel, is even better than standing in line at the grocery store while the person in front of you disputes the price of a carton of orange juice, giving you extra time to read the tabloids. The Actress might be as licentious as a tabloid, but it is far more intelligently written. And, you probably won’t be reading it while standing in line inside a grocery store.”
“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.”
Slang, as readers of Shakespeare know, affects the development of language as much as any genus of terminology. At Salon, Jonathon Green writes about the strange history of English slang, as part of an excerpt from his new book, The Vulgar Tongue. You could also read our own Michael Bourne on the use of “like” in modern English.
In general, we think of translators as people whose job, briefly summarized, is to create elegant texts out of works in foreign languages. But J.R.R. Tolkien, in his translation of Beowulf, set out to do something different. The Lord of the Rings author published a translation that he kept intentionally clunky. Why? In his telling, he did it to better imitate Old English.