“Why would a poet ever plagiarize? You’re not going to get famous, and you’re really not going to get rich.” Where does inspiration end and plagiarism begin? This piece at Electric Literature examines what happens when a poet steals a line.
You might have heard that a new Shirley Jackson book appeared on shelves this week. A collection of previously unpublished work, Let Me Tell You was published by Penguin Random House, which happens to be the place where Benjamin Dreyer, a lifelong Shirley Jackson fan, works as a copy chief and managing editor. At The Toast, he describes how it felt to edit his favorite writer.
Doubleday pulled a Beyonce and published Colson Whitehead’s latest book, The Underground Railroad, a month early. Oprah chose Whitehead’s book for her book club, and Doubleday “secretly started shipping out 200,000 copies in anticipation of the announcement.” You can also read a review from Michiko Kakutani at the New York Times.
In his 2001 treatise, Double Fold: Libraries and the Assault on Paper, Nicholson Baker lamented the wholesale transfer of newspaper archives to microfilm and the subsequent destruction of the originals (A recent essay here at The Millions argued that this is still a big problem). But, according to an article in The Missourian newspaper, microfilm may at least be far more permanent than easily corrupted digital archives. As executive editor Tom Warhover notes: “How about those perfectly preserved newspaper pages that have been digitally fossilized? They’re usually stored on hard drives, which can wear out quicker than your grandmother’s underwear.”