New this week: Behold the Dreamers by Imbolo Mbue; The Dollhouse by Fiona Davis; The Outside Lands by Hannah Kohler; I’m Still Here by Clelie Avit; and Blood in the Water by Heather Ann Thompson. For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
Tuesday New Release Day: Mbue; Davis; Kohler; Avit; Thompson
Poetry Rocks
Split This Rock’s Tenth Annual Poetry Contest is now open for submissions, judged by Sheila Black. All prize winners will be invited to read at the 2018 Split This Rock Poetry Festival and have their poems published in The Quarry.
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44 Issues
The New Yorker is not a magazine for the general public, writes Summer Brennan in the Literary Hub. “Because The New Yorker is nothing if not a view of the world from a comfortable vantage point. The intensity of the features is balanced by reviews of Manhattan restaurants and jokes about how busy we all are. Print magazines are tribal, and we swear our allegiance by buying them and opening them up. The New Yorker assumes that I am politically liberal and have read Chekhov’s The Seagull, and The New Yorker is right.”
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“History is filled with irony”
Casey N. Cep ponders oppositional forces at work on two statues harkening back to the days of Maryland’s slaveholders. “More than tragedy or romance, history is filled with irony,” she notes.
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“I am thankful for death”
It’s fun to imagine what literary titans might have thought had they witnessed modern pop culture. In that vein, here is a monologue, delivered by T.S. Eliot, on seeing the play Cats for the first time.
The Movie That Ate Itself
Have some free time today? Might I suggest reading Michael Idov‘s GQ article “The Movie That Ate Itself.” Not convinced? I’ll let the story’s description speak for itself: “Five years ago, a relatively unknown (and unhinged) director began one of the wildest experiments in film history. Armed with total creative control, he invaded a Ukrainian city, marshaled a cast of thousands and thousands, and constructed a totalitarian society in which the cameras are always rolling and the actors never go home.”