If you’ve pulled an all-nighter, you understand the strange mental space that follows. Carmen Maria Machado brings us into that space at Catapult.
The thing about Dave Chappelle, writes Rachel Kaadzi Ghansah in her marvelous essay on the comedian’s family history, the success of Chappelle’s Show, and how the two informed his opinions on race, “is that he was suddenly vaulted into the awkward position of being the world’s most famous interlocutor in a conversation about race—the one conversation no one likes having.” In light of his recent heckling in Connecticut, as well as the continued misinterpretation of his comedy, “it’s easy to understand why Chappelle was done with being misread, tired of explaining, [and so he] finished talking.”
Over at Full Stop, Sean Minogue argues that social media can have a positive influence on a writer’s creative development. He mentions Twitter extraordinaire Teju Cole, who thinks his involvement in online discussions “comes from the non-American part of me which is saying that novelists in every other country, with the exception of the American or the Anglo-American sphere, actually consider it part of their work to engage.” Pair with our piece on the best of literary Twitter.
On the eve of the Frankfurt Book Fair, German Chancellor Angela Merkel took the opportunity to express her concern that Google Books threatens the rights of authors and potentially violates copyright laws, BusinessWeek reports.
Mexican-American novelist Sandra Cisneros was awarded the PEN/Nabokov Award for Achievement in International Literature, judged by a panel that consisted of authors Alexander Chee, Edwidge Danticat, and Valeria Luiselli. Since the publication of her groundbreaking novel, The House on Mango Street, Cisneros has influenced generations of writers – as noted in our recent conversation between Ada Limón and Erika Sánchez.
John Clare, “the peasant poet,” wrote wide-ranging poems on rural themes, distinguishing himself from his peers in the 19th-century literary scene in England. In 1830, in the midst of an episode of depression, he wrote a long polemic against the first-person pronoun, in the form of a letter to his friend Eliza Emmerson. In The Paris Review Daily, an excerpt of the letter.