“The peace may be holding, but the process is faltering,” writes Colum McCann, forty years after the Dublin/Monaghan bombings, in his evaluation of Ireland’s present relationship with the “Troubles.” “It is, of course, naïve to expect total reconciliation,” he continues. “Some grievances are so deep that the people who suffered them will never be satisfied. But the point is not satisfaction — the point is that the present is superior to the past, and it has to be cultivated as such.”
"As a writer, it’s not like all experience is useful, but when something is troubling, a form can present itself as a way to think. To put what is essentially chaotic into a container where it can be what it is." The Rumpus interviews John Freeman, the Executive Editor of LitHub, about his recent literary projects, the death of his mother, and empathy. Pair with: Contributing Editor Nick Ripatrazone's Year in Reading which includes Freeman's debut poetry collection, Maps.
A new story from Beatrix Potter will be published this September. A publisher discovered the almost-finished story, which features a cat in boots named Miss Catherine St Quintin, at the Victoria and Albert Museum archives. For a humorous take on modern children's books, check out our own Jacob Lambert’s series Are Picture Books Leading Our Children Astray?
"What did Shakespeare’s English sound like to Shakespeare?" A father and son team are working to answer this question, recover Shakespeare's original pronunciation and perform his plays in the new-old style, and lest this sound like a silly exercise in scholarship consider that "two-thirds of Shakespeare’s sonnets.... have rhymes that only work in [Old Pronunciation]."
Out this week: My Lost Poets by Philip Levine; Orphans of the Carnival by Carol Birch; These Are the Names by Tommy Wieringa; A Poet's Dublin by Eavan Boland; and Against Sunset by Stanley Plumly. For more on these and other new titles, go read our latest fiction and nonfiction book previews.
"It is a sad irony that the snake’s rattle, which functions as a warning device, is widely regarded as a bellicose drumroll, or war-cry, instead. It may well have been in a mood of remorse for having killed a rattlesnake on impulse that [William] Bartram, vowing solemnly that he 'would never again be accessory to the death of a rattle snake,' painted his marvelous portrait of a coiled rattler." Christopher Benfey on Rattlesnake Island, a sanctuary set up to protect the woodland serpents from their greatest danger -- us.