Recommended Reading: On educating teenagers’ emotions through literature.
Crime novelist Sue Grafton passed away earlier this week from cancer. Lit Hub and Vulture both have touching tributes to her and her detective series starring Kinsey Millhone. "Grafton belonged to a cluster of female authors who viewed the private-detective subgenre, previously dominated by Dashiell Hammett, Raymond Chandler, and Grafton’s own hero, Ross Macdonald, in desperate need of subverting" and "The annual release of her latest Kinsey Millhone novel was, for generations of devotees, one of the year’s premier literary events. " Rest in peace Ms. Grafton.
“Tracing the journey of a mediocre actor and Holocaust survivor ‘touched by some mysterious higher design’ as he forges and impersonates his way through the war and then back to the city of his birth, the story is part Samuel Beckett and part Isaac Bashevis Singer, with a sudden final bolt of O. Henry. It has the flavour of a morality tale, but what’s most fascinating to me is how difficult it is to derive a moral from it, or rather how easy it is to derive more than one and how openly they stand in conflict with each other.” Kevin Brockmeier extols the fiction of Leandro Sarmatz.
How do you write poems about a culture that has been erased from history and one you don't fit into? Tess Taylor delved into the complications of her Southern family's past for The Forage House and attempted to excavate the unwritten parts of their history. "The non-writing down of people is intensely violent," she told The Oxford American in a recent interview. Pair with: Our own Michael Bourne's essay on the collection and its implications.
Recommended reading: The Chronicle of Higher Education reports on the new modesty of literary criticism and the complicated relationship between texts, critics, and politics. For more on the balance between art and politics, look no further than Jonathan Clarke's Millions essay, "Alive with Disagreement and Dissent."