The Andrew Carnegie Medals for Excellence in Fiction and Nonfiction have been announced! Winners for 2016 are Viet Thanh Nguyen for his novel, The Sympathizer and Sally Mann for Hold Still: A Memoir with Photographs. You could also read Nguyen’s Year in Reading.
“How easy for the waterfall to turn back / into the river, the long, silent face / holding all that has passed through it / as though untouched…” A new poem from Charif Shanahan at Lit Hub, “Wanting to Be White,” forces the audience “to reconsider poetics and race, distinct yet indivisible in the American grain.” Not a fan of poetry? Check out our list of ten poems for people who hate poetry.
Scaachi Koul’s childhood friend introduced her to Lemony Snicket’s Series of Unfortunate Events books candidly: “You’d probably like them,” she said. “They’re really depressing.” Now, in a piece for Buzzfeed, Koul explains how the works have helped her into adulthood. (Bonus: Koul’s forthcoming essay collection, One Day We’ll All Be Dead and None of This Will Matter, made our Great 2017 Book Preview.)
The folks at BookRide, the blog of London’s beloved antiquarian bookstore Any Amount Books, have published a handy set of guidelines for curmudgeonly booksellers. When Kyo Maclear visited The Monkey’s Paw in Toronto, it would seem that they had yet to stumble upon this code of curmudgeonly conduct.
“The first sentence, itself described as a ‘decoy for attention’ in a 1930 story on the new art, is a lure within a lure, created in a new economy increasingly predicated on commercial diversification and instant appeal, in a book market that had never been so populated.” Electric Lit takes us through the history of the novel’s first sentence. Pair with our essay on the art of the opening sentence.
“Romance heroines hold jobs. They teach, farm, practice law, work independently as private detectives, or they are involved in the arts, in dance, in theater. They are mothers, ex-wives, Marines. They take up causes and they always want something ‘more’ from their lives—and we aren’t just talking about a partner. In today’s romance, the relationship is part of—and often, a catalyst for—a woman’s journey, not her destination.” On the value of romance fiction.
“Part of what I realize now I was doing in Proxies was to integrate the incongruous aspects of my self: the child of the truck driver and Primitive Baptist self, the queer intellectual poet self, the professor without an office self, the prizewinner who was ‘midcareer’ before he was ’emerging,’ the middle-aged man at the entry-level rungs of the gig economy.” Go check out this interview with Brian Blanchfield over at The Rumpus. This is the second Blanchfield interview we’ve told you about, both worth taking a look.