If you haven’t heard about Marley Dias, you have now. She has launched the #1000BlackGirlBooks book drive to collect one thousand books with black girls as the protagonists, which will be donated to a library in St. Mary, Jamaica. Did I mention that she’s eleven years old?
In spite of the title of her blog post, Lily Meyer doesn’t think Ann Patchett is really an enemy of Zadie Smith. Instead, she thinks the two authors play opposing roles in her life, thanks largely to the different effects their books have on her perceptions. At the Ploughshares blog, she contrasts their novels, using excerpts from White Teeth and Bel Canto. Related: Kevin Charles Redmon’s review of Patchett's novel State of Wonder.
VQR has published an essay by Chris Fischbach of Coffee House Press that provides an overview of some of the innovative small presses at work today. Fischbach specifically mentions Tin House, Melville House and Two Dollar Radio as "nimble" publishing houses that "can try things big publishers might not find worthwhile or consistent with the aims of a traditional publishing program," such as producing micro-budget films or illustrated versions of classic works of literature.
If you’ve been on the Internet at any point in the last few weeks, you’re probably aware that Twin Peaks is coming back. The seminal (and seminally weird) show by David Lynch will return for nine episodes in 2016. At The Nervous Breakdown, Joshua Lyons explains what the show meant to him, with the help of visual proof that he copied Bobby Briggs’s hair.
“We have all heard the claim, ‘the victors write the textbooks.’ Among the many ways to unpack the phrase is this: that once upon a time history was bound to and relied on communally agreed upon facts. That is to say, there was not a culture of record the way there is now. There were not cameras and photographs capturing all human movement or digital archives where information was stored in 'clouds.' While our methods for remembering have evolved, the ethical question at the heart of recollection remains: how do we tell about the past and who gets to tell it?” Lindsey Drager writes for the Michigan Quarterly Review about memory and storytelling.