We’ve covered the Atlantic series By Heart a number of times before. In the latest edition, Angela Flournoy makes a case for writing about what you don’t know. Pair with Toni Jordan’s Millions essay on “the ideas behind fiction.”
Writerly Advice
The Lonely Island has a new hit; Semicolon.
Kurt Vonnegut famously wrote that all semicolons do is “show you’ve been to college.” What to make, then of The Lonely Island’s raunchy new song about their favorite punctuation mark? (For the record: Jorma Taccone attended UCLA; Akiva Schaffer attended UC-Santa Cruz; and Andy Samberg attended UC-Santa Cruz and NYU.)
●
●
Flying Mice
Seemingly from the realm of science fiction comes a recent announcement from NASA’s Jet Propulsion Laboratory: Scientists there have succeeded in levitating mice.
ray ban outlet
cheap ray ban sunglasses
ray ban sunglasses sale
●
●
Curiosities: Busking for Vampires
Our friend “Tom” finds that music soothes the savage vampire.Joseph O’Neill explores the “wholesome… misanthropy” of Flannery O’Connor.The Nation offers up a depressing assessment of the book business: “It is a confused, confusing and very fluid situation, and no one can predict how books and readers will survive.””Why Donald Duck Is the Jerry Lewis of Germany“NPR talks to the author of the just published biography, Gabriel Garcia Marquez: A Life.Daniel Green launches new online journal Critical Distance.”Will Philadelphia be the place where the American newspaper dies?” (via)The Complete Review considers Bolaño’s Amulet.
●
●
Revealing the System
“You know, it’s dangerous to focus on one person as a way of talking about a big system. But I think Kissinger reveals the system. He’s not singularly responsible for the system—if we expunge Kissinger from history, we still wouldn’t have a Virtuous Republic—but he illuminates it like nobody else.” Greg Grandin discusses his recent release, Kissinger’s Shadow: The Long Reach of America’s Most Controversial Statesman, at The New Republic.
●
●
Documenting Death
“Maurice Sendak drew his partner Eugene after he died, as he had drawn his family members when they were dying. The moment is one he was compelled to capture, pin down, understand, see. Where many— maybe most—people look away, he wanted to render. He was very wrapped up in the goodbye, the flight, the loss; it was almost Victorian, to be so deeply entranced with the moment of death, the instinct to preserve or document it. It’s also the artist’s impulse: to turn something terrible into art, to take something you are terrified of and heartbroken by and make it into something else. For the time it takes to draw what is in front of you, you are not helpless or a bystander or bereft: You are doing your job.” On Maurice Sendak and the art of death.
●
●