Lena Dunham’s next book looks to be every bit as divisive as her first. The chapbook, Is It Evil Not To Be Sure?, is a collection of Dunham’s college diaries from 2005 to 2006 — or basically, that recurring nightmare you have that somebody might find and read your journal.
This week in Fascinating Archive Picks: The New Statesman dug up a Philip Larkin essay from 1962. Kicking off with an eccentric fantasy of hearing Shakespeare’s voice on vinyl, the essay delves into the importance attached to a poet’s voice, which impels Larkin to regret that early record producers didn’t think to record Thomas Hardy. Related: Leah Falk on reading poems aloud.
Back in April, our own Sonya Chung linked to an excerpt on Bloom of Viet Thanh Nguyen’s The Sympathizer, then featured on the cover of the Sunday Times Book Review. At Bookforum, Lisa Locascio reads the book, drawing comparisons to Chang-rae Lee’s Native Speaker and Hari Kunzru’s The Impressionist.
The International Writing Program at the University of Iowa is offering two seven-week online seminars free of charge this summer: Advanced Poetry and Poetry Masterclass. The seminars are intended for emerging and published poets, respectively, and they will be taught by Micah Bateman and Nick Twemlow. Anybody with an internet connection is allowed to apply, and applications are due May 8th.
For everyone who likes typography and arguments, New York Magazine has a story up that covers the type designers Jonathan Hoefler and Tobias Frere-Jones and follows the pair through their success to their ultimate rift. For those who prefer debates with more immediate impact, Mental Floss has a breakdown of the best shots fired in the fight over the Oxford Comma.
“Still, what he captured with genius was the ontological unease of a world in which the human and the abhuman, the real and the fake, blur together.” An essay in the Boston Review argues the importance of Philip K. Dick‘s literature— where the real and fake intersect and collide — and the world we live in today. From our archive: on the pleasures of Dick’s sometimes awful prose.