Truck Driver From the Waist Down

“I am very fortunate to be involved in a number of supportive communities who rally when things like this happen – but rarely do I laugh quite as hard as I did when reading Avid Reader’s responses.” The Guardian has the uplifting story of how an independent Australian bookstore “took on anti-feminist trolls and won.” If for some reason, after reading that, you want to wade into an equally polarized comments section, scroll down to the conversation following Daniel Jose Ruiz‘s recent piece on geekdom and race.

In addition to House of Holes‘ recent coverage in the New York Review of Books and Open Letters Monthly (and on The Millions), the latest edition of The Paris Review features an interview with “mad scientist of smut” Nicholson Baker. (You can check out an excerpt here.) But for those still unsatisfied, Adam Wilson has assembled a canon of raunchy literature.

“In re-organizing the priorities of book publishing—by inventing new models rather than trying to repeat past success, by valuing ingenuity over magnitude, by thinking of sales as a way to make great books possible rather than the point—indie presses aren’t just becoming the places where the best books are published; they’re already there.” Over at The Atlantic, Nathan Scott McNamara writes on why American publishing needs indie presses. For more of his writing, check out his essay on Denis Johnson for The Millions.

It’s been one week since the “Friday Night Lights” finale aired on network television, and it seems as though the entire internet is grieving. Two Grantland pieces: an oral history and a tongue-in-cheek analysis; an opinion piece juxtaposing Peter Berg‘s low-rated drama against “Glee”‘s success; and now even The Paris Review has thrown its hat into the ring. All of this, of course, comes on the heels of our own Sonya Chung‘s piece last April.