Recommended Reading: Does commercial literature hurt literary fiction?
“The Colbert Bump didn’t get so much media attention and public support because everyone wanted to talk about me and my novel. People wanted to support book culture, to say that books and writers matter, and that we should be doing everything we can to ensure their continued existence, if not their success. In short, The Book is not dead!” Our own Edan Lepucki and Stephan Eirik Clark talk about their experiences as debut authors on “The Colbert Bump,” and the piece pairs nicely with Edan and Millions staff writer Bill Morris‘s article about the many paths writers follow to publication.
Out this week: Vinegar Girl by Anne Tyler; The Mandibles by Lionel Shriver; As Good as Gone by Larry Watson; Disappearance at Devil’s Rock by Paul Tremblay; My Last Continent by Midge Raymond; and The World Without Us by Mireille Juchau. For more on these and other new titles, go read our Great 2016 Book Preview.
Readers of The Neal Pollack Anthology of American Literature most likely have a good idea of just how much the late Norman Mailer was a wellspring of jokes about writers. The pugilistic novelist, journalist and failed mayoral candidate did choose to title a collection of his work Advertisements for Myself, after all. Yet as Andrew O’Hagan notes in the LRB, it’s hard not to admire the cojones on a guy who once told a prominent editor he was “still too young and too arrogant to care to write the kind of high-grade horseshit you print in Harper’s Bazaar.”
“We have all heard the claim, ‘the victors write the textbooks.’ Among the many ways to unpack the phrase is this: that once upon a time history was bound to and relied on communally agreed upon facts. That is to say, there was not a culture of record the way there is now. There were not cameras and photographs capturing all human movement or digital archives where information was stored in ‘clouds.’ While our methods for remembering have evolved, the ethical question at the heart of recollection remains: how do we tell about the past and who gets to tell it?” Lindsey Drager writes for the Michigan Quarterly Review about memory and storytelling.
“We wanted to show a side of the migration crisis that is rarely portrayed, steering away from the depictions of nameless masses by certain media and politicians,” write the producers of Mr. Gay Syria, a documentary about Syrian refugees and their quest to shine a spotlight on the community of “Syrians who had to run away from war and homophobia,” and who have relocated to Turkey, “a place that did not accept them either.” Now, after two years of work, the filmmakers are raising money to fund post-production and community outreach. You can donate here, and visit their Facebook or Twitter pages for more information.
As part of their 80th anniversary celebration, the Academy of American Poets recently revamped their website. The updated website now boasts such features as “geographically relevant information (such as local poetry events),” “interviews with renowned poets,” and “free lesson plans tailored for K-12 teachers.” Go take a look for yourself. I recommend starting with Sally Van Doren’s poem, “Thief.”