Wouldn’t it be nice if your brain just went ahead and created that pesky simile for you? For individuals suffering with synesthesia (a neurological disorder in which one sense is “cross-wired” with another, such as seeing the color red or hearing a sour taste) the brain does just that. Here’s a piece from Electric Literature that takes a look at synesthesia, substances, and seeing the world askew.
Apparently the confessional poets hated being known as confessional poets. Writers like John Berryman and W.D. Snodgrass responded badly when given the label. How do we understand their shared revulsion to the term? At The Paris Review Daily, an argument that we can find the answer in an unlikely place: The Twilight Zone.
Apocalyptic literature is nothing new, but it may, according to Grayson Clary, be entering a new era. In Bookforum, he argues that Benjamin Percy’s The Dead Lands ushers the genre into its mannerist phase. Sample quote: “The Dead Lands is really the stripped, buffed skeleton of a road story, set up to show off—attractively—an enormous quantity of decorating tropes.” You could also read our interview with Percy.
“She could be a diva, says this source, 'but in a way I fucking admire it. The world would be a sorrier place without divas.'” For New York magazine, Boris Kachka on the drama behind Michiko Kakutani's departure from The New York Times and what her absence means for the world of books. Consider also: our own Matt Seidel's rogue's gallery of prominent critics.
We recently linked to a new interview with Ian McEwan, whose latest novel The Children Act comes out next week. The LA Times has a full review of the new book, and the piece pairs well with Charles-Adam Foster-Simard's review of McEwan's Sweet Tooth. And of course there's Atonement, which comes up in a variety of Millions articles, from Michael David Lukas's essay on the polyphonic novel to Seth Sawyer's recent piece on food and reading.