Full Stop’s book club is discussing the stories of Clarice Lispector throughout this week in an in-depth email exchange conducted by contributors Becca Rothfeld and Nathan Goldman. Pair with Magdalena Edwards‘s Millions review of the collection.
Epistolary Criticism
A Reader’s Rebellion
“Trusting the literary press and the mechanisms of the market to curate the books we read and study is to hand over whole regions of literary curiosity and judgment before one even picks up a book.” On refusing to read. We’re not prepared to go quite that far, instead preferring our own Sonya Chung‘s practice of not finishing books.
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Tin Man
Sergeant Ed Drew’s tintypes of the war in Afghanistan are the first tintypes made in a combat zone since The Civil War. Drew made them for his son. “I wanted him to know his father in the event that I was killed in action and it became less important that my work was done in tintype than that I could show the humanity of war in the eyes of airmen I fly combat missions with,” he said.
“Copywrong”
“At bottom, the argument about copyright is not really a philosophical argument. It’s a battle between interest groups.” Louis Menand writes about American copyright law in the digital age for The New Yorker, and his essay pairs well with the many articles on copyright we’ve published over the years.
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Buy Debt Without Going Into Debt
David Graeber’s Debt (which was just reviewed in the New York Review of Books) is available at a 40% discount all weekend long.
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Adapted for Screen
Mining and Mapping Life with Patricia Engel
Patricia Engel discusses her latest novel, Infinite Country, and how storytelling was instilled within her from an early age.
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The Purpose of Punctuation
Recommended Reading: Artist Nicholas Rougeux removes all the letters in a text and meditates on the punctuation that is left on the page.
Michael K. Williams’s Charade and Redemption
Michael K. Williams, best known to some as The Wire’s Omar Little or Boardwalk Empire’s Chalky White, talks publicly for the first time about his battles with addiction, and how his stint on the Baltimore crime drama coincided with some of the lowest points in his life. “I suffered from a huge identity crisis,” Williams says. “In the end, I was more comfortable with Omar’s skin than my own. That was a problem.”