“That has always been the unsettling irony of the carefree aesthetic. Rhetorically, it denies the full unpredictability of black experiences in America. It is a stereotype, albeit one intended for benevolence and created, perhaps lovingly, by black people.” Doreen St. Félix writes about the roots and ramifications of the “Carefree Black Boy” phenomenon.
Alexandra Kleeman’s debut novel includes, among other discomfiting things, a series of fake advertisements for surreal women’s beauty products. The plot, which follows a proofreader named A, begins with the main character’s attempt to evade her roommate, and eventually brings A to join a “Church of Conjoined Eaters.” At Slate, Molly Fischer argues the book deftly captures our society’s weird treatment of femininity.
“I was interested enough in WikiLeaks, state transparency, and emergent opposition networks to do five years in prison over such things, but I wasn’t interested enough that I would have voluntarily plowed through 500 pages of badly plotted failed-marriage razzmatazz by an author who’s long past his expiration date simply in order to learn what the Great King of the Honkies thinks about all this.” Barrett Brown reviews Jonathan Franzen’s Purity from prison. Pair with our own Lydia Kiesling’s review of the book.
“We all use a ‘persona’ or mask, to some degree, all the time,” writes poet Robert Pinsky as he challenges the notion—widely held in English classes throughout the world—that a poem’s “speaker” is necessarily separate from a poem’s author. The latest release from Pinsky, the former Poet Laureate of the United States, is Selected Poems, and you can hear him read some excerpts in this video.