Would Vladimir Nabokov have considered you a good reader? Take this little quiz and find out for yourself. Then, allow Garth Risk Hallberg to explain to you why Nabokov’s Ada, or Ardor: A Family Chronicle is difficult, but well worth the effort.
Step 1: Read a sentence that says, “Eclipse is a free on-line archive focusing on digital facsimiles of the most radical small-press writing from the last quarter century.” Step 2: Click through and explore the site. Step 3: Look up and realize six hours have passed.
There was an interesting piece on the intangible economics of fine art in this weekend’s NYT Magazine that explains the difference between the markets for art and other luxury goods (like gold and property): “Because the art market isn’t regulated like financial securities, insider dealing is generally not illegal.”
“The home I grew up in will never exist again, and this is why I write so much about home, perhaps. Because I lost mine,” Jesmyn Ward told Roxane Gay in an interview for The Toast. They discussed Ward’s new memoir, Men We Reaped, her writing process, and how she deals with being labeled a “black woman writer.”
“The hijacking of public language, as is happening now, is a way to shift perception—to bend and control thought—and must be resisted.” Summer Brennan pens a powerful first entry for her twice-monthly column about language and power at The Literary Hub. Read also our own Lydia Kiesling, who tells us, “I have to believe that literature can be a weapon of a sort — it explodes comfort even while it delivers comfort; it reveals hypocrisy in a way that the mere presentation of facts often cannot.”