“By casting my book as personal rather than professional—by marketing me as a woman on a journey of self-discovery, rather than a reporter on a groundbreaking assignment—I was effectively being stripped of my expertise on the subject I knew best.” Suki Kim on writing a work of investigative journalism that was miscategorized as memoir. Pair with this Millions piece in defense of memoirs.
We all probably had the humiliating experience of reciting a poem in high school. Yet at Salon, Nina Kang believes that memorizing poetry is a lost art. She blames the loss of the discipline on our tendency to skim and new poetry’s seeming aversion to memorization. “Writers actively fight against the appearance of artifice, and often instead strive for an informal, offhand tone, with that hint of clumsiness that lends a certain authenticity to the voice. It turns out this is a quality that makes the reciter’s job that much more difficulty.” Here’s our take on the lost art of recitation.
In his review of a collection of rejected New Yorker covers titled Blown Covers: New Yorker Covers You Were Never Meant To See, Jeet Heer details the magazine’s history of straddling the divide between bourgeoisie complacency and bohemian angst.
The practice of naming children after a dead sibling was surprisingly common up until the late-nineteenth century–Salvador Dali, Ludwig Van Beethoven, and Vincent Van Gogh were each “necroynms,” or the second of their name. Jeannie Vasco’s essay for The Believer on necronyms and grief is perfect to read alongside this essay for The Millions by Chloe Benjamin on naming not humans, but novels.