Recommended Reading: This slick, new, annotated version of Herman Melville’s classic Bartleby, the Scrivener from the folks over at Slate. For more on Bartleby’s occupation of Wall Street, here’s a piece that should suffice.
You may not expect much from a write-up about The Smiths’ new collected box set, Complete, but that’s about to change. In a phenomenal piece on the relationship between racial (in particular Asian) otherness and the UK band’s music, Sukhdev Sandhu explains how Morrissey’s “lyrics and persona mapped out a structure of feeling that spoke to my own floundering selfhood.”
At Salon, Kyle Minor listens to an audiobook recording of Joan Didion’s Salvador and finds that it remains “immediately relevant to a new reader whose memory of its context is more the kind of memory that arises from having read books about history than one that arises from having been old enough in 1983 to understand the meaning of phrases such as death squad, or body count, or mechanism of terror.”
“I hate to break it to you but everyone does not, in fact, have a book in them.” For The Outline, literary agent Kate McKean writes about the difference between good stories and good books—and what it takes to write the latter. Pair with: an essay on the books that fight back
On Thursday, March 22nd at 7pm, Hari Kunzru will visit WORD bookstore at 126 Franklin Street, Brooklyn, NY for an event co-hosted by The Millions. Visit the WORD website for further details and RSVP. See you there!
“Writing gives me great feelings of pleasure. There’s a marvelous sense of mastery that comes with writing a sentence that sounds exactly as you want it to. It’s like trying to write a song, making tiny tweaks, reading it out loud, shifting things to make it sound a certain way. It’s very physical. I get antsy. I jiggle my feet a lot, get up a lot, tap my fingers on the keyboard, check my e-mail. Sometimes it feels like digging out of a hole, but sometimes it feels like flying. When it’s working and the rhythm’s there, it does feel like magic to me.” Susan Orlean on why she writes.