“She gathered books to display for attendees and discovered that inside the cover of one, ‘The Koran for Dummies,’ someone had written “lies cover to cover,” drawn a swastika and made a disparaging remark about the Prophet Muhammad.” The president of the American Library Association reports “startling increases” in 2016 of vandalism, including hateful messages, at libraries. The Association’s Office for Intellectual Freedom has begun formally tracking such incidents to determine whether the increase is “a blip or a trend.”
No Bastion for Books
The Ambitions of Oscar Wilde
“I won’t be a dried-up Oxford don, anyhow. I’ll be a poet, a writer, a dramatist. Somehow or other I’ll be famous, and if not famous, I’ll be notorious.” -Oscar Wilde on rejecting a career as a classics scholar. (via Book Bench)
The Poetry of Borders
Over at the Southern Humanities Review, Javier Zamora, Veronica Marquez, and others share their poems in a special feature for undocumented writers. Pair with Andrew Kay’s Millions essay on the power of poetry.
Capital Idea
"The Goldfinch is a grand nineteenth-century novel in that it is an 800-page chronicle of capitalism, a paean to the ways in which the world turns on the questions of who can or can’t pay for what, and how these abilities and inabilities mold us over time. Like the life events and relationships it depicts, it purports to be about love but is actually about money. This portrayal of twentieth century North American society is accurate, but also, just as in life, both exhausting and demoralizing.” On Donna Tartt’s latest novel. (You could also read Adam Dalva’s take on the book.)
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Tuesday New Release Day: Rakow; Hauser; Le Guin
Out this week: This Is Why I Came by Mary Rakow; The Baker's Tale by Thomas Hauser; and Late In the Day, a new collection of poems by Ursula K. LeGuin. For more on these and other recent titles, check out our Great Second-Half 2015 Book Preview.
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A Shape-Shifting Body
Over at The New Yorker, Hilton Als writes about Beyoncé’s Lemonade, Prince, Cecil Taylor, Octavia Butler, and time travel. He writes, “Toward the end of the film, [Beyoncé] moves further back into the past and examines her roots, we see any number of sharply dressed women sitting in the natural world, talking among themselves. This will remind readers of that extraordinary scene in Beloved, when the elder commands those who have gathered in a clearing to love their hands, themselves—because if they don’t, who will?”
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