“Diversity matters. Not only in what we look like, or what religion we practice, or in whom we love, but also in how we live our lives, including the order in which we go about things, the seasons in which we are able to create art.” Robin Black wonders “What’s So Great About Young Writers?” in a piece for the New York Times. Pair with our own series celebrating writers who got their start after 40.
Mozambican author Mia Couto has won the 2014 Neustadt Prize. The prize, which awards the recipient $50,000 and is sponsored by the University of Oklahoma, recognizes exceptional fiction writers, poets and playwrights from around the world. Pair with Philip Graham’s Millions essay on Couto.
Do “algorithms and online recommendations threaten to replace [publishers] as arbiters of quality”? This Economist riff on e-book publishing says so. Elsewhere, at least 20 companies are using computer software instead of human beings to write their articles.
What I didn’t want was for my book to become a trauma narrative or a healing narrative that would be touted as merely a testament to love. It’s not meant to be only an uplifting and inspirational piece of literature. I’m tired of the type of memoir that just shows you its scars and wants you to feel sympathy for it. This is not that kind of memoir.” Garrard Conley interviewed over at Electric Literature in conjunction with the release of his new memoir, Boy Erased.
The practice of naming children after a dead sibling was surprisingly common up until the late-nineteenth century–Salvador Dali, Ludwig Van Beethoven, and Vincent Van Gogh were each “necroynms,” or the second of their name. Jeannie Vasco’s essay for The Believer on necronyms and grief is perfect to read alongside this essay for The Millions by Chloe Benjamin on naming not humans, but novels.