“When I heard Afro-Brazilian people speak Portuguese, first in films like City of God and Bus 174, and then live and direct in Bahia, I fell hard for the ease, lyricism, and lilt in their voices which reminded me of the Anglophone Caribbean family and community I grew up in.” Over at Words Without Borders, Naomi Jackson reflects on blackness in Brazil.
Lord of the Flies is perhaps the best example of a book that forces readers to confront how wild we are. But there’s a whole corpus of books that accomplish the same thing. In The New Statesman, Erica Wagner writes about Melissa Harrison’s At Hawthorn Time and Sarah Hall’s The Wolf Border.
Jenn Shapland had the pleasure of cataloguing the archives of Carson McCullers, Gertrude Stein, and Sir Arthur Conan Doyle. Their possessions left her with a few lingering questions. Pair with Shapland’s piece on cataloguing David Foster Wallace’s The Pale King.
The world isn’t exactly wanting for character studies of Captain Ahab, but Chris Power manages to come up with a novel analysis of the character in this essay about the Moby-Dick antagonist. In Power’s telling, Ahab was valuable in part for what he told us about the 20th century — namely, he foreshadowed the dictators and despots to come. You could also read Hester Blum’s contribution to this essay about the best American novels.
“Forty years later,” Romesh Ratnesar writes “the Stanford Prison Experiment remains among the most notable—and notorious—research projects ever carried out at the University.”
Tonight! Come out and meet The Millions! Listen to readings from Emily St. John Mandel, Sonya Chung, Michael Bourne, and Garth Risk Hallberg. Also, you can meet our editors C. Max Magee and Ujala Sehgal. Or, if you’re feeling testy, you can debate me in person about my recent eReader article!
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.