For Ploughshares, Emilia Phillips writes about “the corporeality of the lyric.” As she puts it, For some, the act of writing about the body is not necessarily the inclusion of the body as a poem’s subject but the body as the vehicle for the poem. Think of how repetition recalls movement, dancing. Think of how good a rhyme feels in the mouth.”
Writing the Body
Poetry After the Windfall
The Chicago Tribune looks at Poetry magazine ten years after the tiny publication received an astonishing $200 million donation. How’s the magazine doing? “The answer is complicated.”
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“Which Poet Are You?”
Does love “crack [your] sternum open” or is love like the “mystery of water and a star?” Is your soul “an empty carousel at sunset?” Are you an only child? I ask because these – along with several other questions – will help Farrar, Straus, and Giroux determine once and for all: “Which Poet Are You?”
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People who should feel rooted, but rarely do.
In an interview with the Guardian about Canada, Richard Ford talks about America: “I never had much conceptual idea of Canada being better. But whenever I go there, I feel this fierce sense of American exigence just relent. America beats on you so hard the whole time.” Also see: Michael Bourne’s review of the novel.
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Mere Electronic Wallpaper
Remember that time that sci-fi master J.G. Ballard predicted the rise of social media all the way back in 1977? Neither did we. Bonus: here’s a Millions review of Ballard’s Kingdom Come.
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Paris Est Une Fête
In the wake of the terrorist attacks in Paris, Ernest Hemingway’s A Moveable Feast has rocketed to number one best-seller status in France as an emblem of cultural defiance. With a title in its French iteration that roughly translates to “Paris is a celebration,” the sudden popularity of the book run even Amazon out of stock.