This month marks Dante‘s 750th birthday. In an essay for the New Yorker John Kleiner considers what the poet means to Italy, from the middle schools where his poetry is taught to pre-teens to televised readings of the Paradiso in space.
Melissa Hillman, the artistic director at Berkeley’s Impact Theatre, explains “A Common Problem [She Sees] In Plays By Women Playwrights. (It’s Not What You Think.)”
Jeffrey Goldberg interviews Quentin Tarantino in The Atlantic and writes about why Inglorious Basterds is a very un-Jewish treatment of rage toward Nazis.
“The first sentence, itself described as a ‘decoy for attention’ in a 1930 story on the new art, is a lure within a lure, created in a new economy increasingly predicated on commercial diversification and instant appeal, in a book market that had never been so populated.” Electric Lit takes us through the history of the novel’s first sentence. Pair with our essay on the art of the opening sentence.
“In Go Home! — a collection that feels particularly timely in the midst of attacks on immigrant families and communities — Asian diasporic writers are both thoughtful and generous in their reflections about who they are, where they have been, and where they belong.” For Shondaland, Nicole Chung interviewed Rowan Hisayo Buchanan, the anthology’s editor, and a few contributors (including Alexander Chee, Karissa Chen, T Kira Madden, and Esmé Weijun Wang) about what home means to them. Pair with: our review of Chee’s The Queen of the Night and Wang’s 2016 Year in Reading entry.
Does getting up early make you a better writer? Not necessarily according to Maria Popova’s infographic of authors’ wake up times paired with their overall productivity (books published and awards won). The findings: Writers who sleep in write more but win fewer awards than early birds. Our conclusion: Just get up whenever you want.