Recommended Reading: Four stories by Lydia Davis.
In his inaugural column for The New York Times Magazine, former New York Magazine critic Sam Anderson expands upon the idea he shared with us in his “Year in Marginalia,” his riff on our big Year in Reading series. And, as a sidebar to Anderson’s column, the Magazine has published a brief excerpt of John Brandon’s compelling essay from The Late American Novel: Writers on the Future of Books (perhaps you’ve heard that title mentioned around here lately?)
The New York Public Library has bought psychedelic guru Timothy Leary’s papers. The 335 boxes contain journals, videotapes, photographs and thousands of letters from avid trippers, including Allen Ginsberg, Aldous Huxley, William S. Burroughs, Jack Kerouac, Ken Kesey and, yes, Cary Grant.
There’s an oxymoron for you: “Rich Poet.” But the new fortunes of Emirati poet Saif Al Mansouri prove that with talent, grit, and a live television audience, truly anything is possible. The UAE show “Millionaire’s Poet,” in its sixth season, awarded $1.3 million (the Nobel Prize. for comparison, is $1.2 million) to winner Al Mansouri, and perhaps something even more valuable – a global audience of up to 70 million, actually tuning in.
The publishing industry is roughly 86% white. Yet comparative titles, or “book comps,” are whiter still, the L.A. Review of Books has found, arguing that this makes it exceptionally difficult for writers of color to place their books with imprints at Big Five publishers. “Comps,” in other words, “perpetuate the status quo.” Here’s how.