Yesterday I told you about a ridiculously rare signed copy of T.S. Eliot’s The Waste Land, a poem famously loaded with coldness and sterility and failed human intimacy. Later this month, some new letters will be published that reveal the depth of Eliot’s mental anguish over the breakdown of his first marriage with his wife, Vivien. Eliot has long been accused (maybe fairly) of treating Vivien with intolerable cruelty and attributing to her mental state, and these letters aim to complicate that narrative.
Out this week: Perfect Little World by Kevin Wilson; Dark at the Crossing by Eliot Ackerman; Days Without End by Sebastian Barry; Mexico by Josh Barkan; The Signal Flame by Andrew Krivak; and Number 11 by Jonathan Coe. For more on these and other new titles, go read our most recent book preview.
University of Michigan researchers have revealed an incredible prototype technology – a braille tablet. Current designs only allow for one line of braille, but the new prototype displays full pages of text. Find out more and watch the project leader, Dr. Sile O’Modhrain, discuss the developments at BGR. Pair with our eReader cheat sheet.
“More than 30 years after her last big swim, Diana Nyad is back in the water,” writes NPR’s Greg Allen. “Nyad, a former commentator for NPR’s Morning Edition, became well-known in the 1970s for her swim around Manhattan Island and, a few years later, for swimming from the Bahamas to Florida. Now, at age 61, she’ll soon be attempting a 103-mile swim from Cuba to Key West.” Unfortunately she’s already missed Key West’s Hemingway Days.
The essay is more popular than ever. At Salon, Michele Filgate talks to Leslie Jamison (author of The Empathy Exams, here’s our review) and Roxane Gay (author of the forthcoming Bad Feminist) about the power of the genre. Gay believes our interest in essays is because of a “cultural preoccupation with the exposure of the self.” They also discuss if we’re in a golden age of women essayists. “Sometimes when men write about private feeling, it’s seen as exploratory or daring, and when women write about private feeling it’s seen as limited or in the vein of a kind of circumscribed emotional writing,” Jamison says.