“Titus Andronicus is a hideous play…. In other words, it’s one of those tragedies that was just crying out for an illustrated edition.” View Leonard Baskin’s grotesque etchings of Titus Andronicus in The Paris Review.
For Buzzfeed Rachel Vorona Cote explores Eve Babitz and the white literary It Girl. “Readers, particularly literary women in their twenties and thirties, seem to be entranced by this child of Hollywood, who unabashedly relished her LA milieu and both chronicled and defended its paradoxes. But it’s still a milieu that flattens the city into one that is homogenous, wealthy, and white.” Pair with this essay about her novel Sex and Rage.
“How did a humble Canadian publisher—which got its start reprinting other companys’ books—become the name most associated with romance? It’s a long story, involving a peripatetic former fur trader and his opinionated socialite wife, a Procter-and-Gamble-trained Harvard MBA, some jilted Americans and a whole crowd of damned scribbling women.” From Pictorial comes the story of “How Harlequin Became the Most Famous Name in Romance.”
“It can not be that I monopolize / The making of the songs that give you praise / Or that such pools as are your dearest eyes / Have just one bather through the unclear days. / Then, let me take my place amid the pack, / If I so pack my songs with your rare worth / There were no quality they then should lack / But they were bettered by that happy death.” A previously unpublished Ezra Pound sonnet selling at auction is always newsworthy–especially when it fetches nearly $12,000. Here is a related Millions piece about the difficult poetry of Ezra Pound, John Berryman, and Ted Berrigan.
“I do not find it unusual that many writers I know acquire vintage clothes, buy old homes, and rescue animals. For one, we don’t have Wall Street salaries, and secondly, we’re suckers for backstory, particularly that which is left to the imagination. Our job, after all, is to make up lives, engage in epic games of pretend.” Megan Mayhew Bergman writes for Ploughshares about collecting cast-off objects, “the chaos of memories,” and becoming a writer. Pair with David L. Ulin‘s reflection on Bergman’s essay and the way we think about memory, written for the LA Times.