“Over the past thirty-five years alone, language from Frost’s poem has appeared in nearly two thousand news stories worldwide, which yields a rate of more than once a week. In addition, ‘The Road Not Taken’ appears as a title, subtitle, or chapter heading in more than four hundred books by authors other than Robert Frost, on subjects ranging from political theory to the impending zombie apocalypse.” David Orr writes for The Paris Review about Robert Frost’s “The Road Not Taken,” one of the most misread poems of the English language.
We’ve published essays before on the importance of good grammar, but it’s rare that something comes along that illustrates its value so clearly. A couple weeks ago, the Times published a blurb about This is the Story of a Happy Marriage, a recent essay collection by Ann Patchett, that led to the author sending in what may be the best correction of all time. For more on Patchett’s work, you could read Kevin Charles Redmon on her book State of Wonder.
They’ve called him a sports icon, a “national nightmare,” an author, and a punchline. They’ve questioned the backlash against him, and tracked his particular brand of “muscular Christianity.” Coincidental religious symbolism has been noted. Yet so far nothing has come close to genius of Jimmy Fallon’s rendition of Tim Tebow as… TeBowie.
Amazon has refreshed its line of Kindles once again. The price point on a basic version that utilizes Wi-Fi has dropped way down to $139. Opt for the 3G version and the price is $189. The device now boasts better contrast, less glare in sunlight, and it now comes in a new color: “graphite.”
Writing about European immigration laws for the London Review of Books, Jeremy Harding drops this excellent line: “Perhaps we should agree to think of rights and values as limited resources, and admit that Europe is now caught in a bitter struggle over who can or can’t access them.”
In anticipation of Adam Sternbergh’s novel, Shovel Ready, Chris Bilton and Sarah Liss collaborated on “the ultimate N.Y.C. dystopia map,” which serves as an amalgamation of “some of the darkest visions of the city.” Meanwhile, Jacob Silverman points us to a map of St. Petersburg, Russia, “made out of lines from Russian literature.” (Bonus: Sternbergh discusses his novel with the Los Angeles Times.)