Harper Lee’s estate will no longer allow publication of the mass-market paperback edition of To Kill a Mockingbird, which was popular with schools. Over at The New Republic, Alex Shephard writes that “Without a mass-market option, schools will likely be forced to pay higher prices for bulk orders of the trade paperback edition—and given the perilous state of many school budgets, that could very easily lead to it being assigned in fewer schools.” For more about the author’s legacy, read Robert Rea’s Millions essay on his travels to her home.
Look, we get it. You’re as sad as the rest of us that Frank Ocean’s new album didn’t actually drop on Friday. Luckily, there’s a fantastic essay over at The Atlantic which examines Ocean in the context of Harper Lee and the myth of the reclusive artist: “Channel Orange, like Mockingbird, is an unapologetic masterpiece for people defining themselves at the intersection of lived experience and possibility.”
“When John Green told the crowd that, though he was proud of the movie, it wasn’t his movie, someone shouted, ‘But it’s your plot, John!’—which marked the first time I’d ever heard heckling about the nature of authorship.” Green, author of YA bestseller The Fault in Our Stars, is the literary hero of teenage girls, and nerdfighter hero to millions. After you read the excellent profile at The New Yorker, consider the The Millions’ own review.
“‘Tuya’ means ‘graffiti’ in Chinese—the name is recent—and this street, three-quarters of a mile long, may be the longest stretch of public art in the world. It’s also a government-sanctioned ‘art district,’ centered around the Sichuan Fine Arts Institute, which was established in 1940…I noticed that every artist I spoke to referred to 2005 as the year everything changed. 2005 was the year the government became interested in art.” Art in Chongqing.
Coulrophobes take heed! You’re not scared of clowns because they’re inherently dark, or even because you caught a few minutes of Stephen King’s IT on television. In fact, you probably owe your fear of clowns to a fellow named Joseph Grimaldi, the “Homo erectus of clown evolution.” When this progenitor died in 1837, a young Charles Dickens “was charged with editing his memoirs.” The resulting portrait, relays Linda Rodriguez McRobbie, was what ultimately “water[ed] the seeds in popular imagination of the scary clown.”
“These sorts of connections are at the centre of nearly all time machine fiction. These novels usually draw attention to telling commonalities across historical eras, or between the past and the present. That gives an engaging puzzle quality to the books—we read seeking out the dropped clues that will shed light on the purpose of the parallel.” On fiction in which the plot takes place over multiple timelines.
Recommended Reading: This jarring, surreal “amalgamation of three different pieces” on Hannah Arendt by Bobbi Lurie over at 3:AM Magazine. Arendt, herself a political theorist, would likely have appreciated this piece from The Millions on the life and afterlife of literary theory.