“The literary type of burlesque also peels off layers … They are bolder and more coarsely humorous pieces that go beyond silly copies, like turbo-charged parodies. Jane Austen’s burlesques were full-on irreverent, turning a thing on its head, forcing us to peek underneath to see its naked absurdities.” On the proto-feminist snark of a young Jane Austen.
“If I’ve sat on my arse all day—and it’s definitely my English arse I sit on, not an American ass—then what I most want to do come evening is sit on it some more,” Geoff Dyer loves to sit. He and other authors discussed why the standing desk is overrated at The New Republic. Here’s where our writers work.
When your father shows you The Wrath of Khan at a young age, you develop an appreciation for the late Leonard Nimoy, whose death scene as Spock in that film is among his most famous performances. For Jen Girdish, that appreciation led to this essay, which reflects on Nimoy, her father’s own death and the onetime ubiquity of VHS tapes.
“Tsundoku: the acquiring of reading materials followed by letting them pile up and subsequently never reading them.” Do you buy books and let them languish? According to Ozy, there’s a Japanese word for that. Might we encourage your tsundoku habit by encouraging you to look at this list of our favorite October releases?
“I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes.” Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.