“We’ve often thought First Nations and indigenous students — if they don’t see themselves reflected.. how engaged they can be with the educational system?” The Huffington Post reports that a school board in southern Ontario is making a native-focused literature course mandatory after learning that those books “were more interesting and engaging to students than the classics.” The class curriculum includes As Long as the River Flows by James Bartleman, Green Grass, Running Water and Medicine River by Thomas King, the 7 Generations graphic novel series by David Alexander Robertson, and Indian Horse by Richard Wagamese. (Story via Book Riot.)
“Publishing is also an industry that selectively values a kind of swaggering authenticity that would never capitulate to demands for something so banal as being nice. But authenticity is too often a short hand for callous, aloof, or honest for the purpose of cruelty rather than truth-seeking.” Alana Massey writes about the “niceness” of publishing.
Doubleday pulled a Beyonce and published Colson Whitehead’s latest book, The Underground Railroad, a month early. Oprah chose Whitehead’s book for her book club, and Doubleday “secretly started shipping out 200,000 copies in anticipation of the announcement.” You can also read a review from Michiko Kakutani at the New York Times.
Now online: PEN World Voices video of Keith Gessen interviewing Vladimir Sorokin, author of the just-released Ice Trilogy and Day of the Oprichnik. I was a little nonplussed by the Times‘ decision to begin its profile of Sorokin with a discussion of his hair, but really…it is quite something. Come for the mane, stay for the acerbic insights.
We all spend way too much time in airports this time of year, but Brad Leithauser searched for a metaphor about his journeys through BWI. As he writes for The New Yorker, “There was a piquant pleasure on the night when I first put these two experiences—morning churchgoing, evening airport-going—side by side. I’d been idly and only semi-consciously asking myself what these nocturnal intervals at B.W.I. reminded me of, and now, suddenly, I’d located my metaphor.”
In anticipation of Adam Sternbergh’s novel, Shovel Ready, Chris Bilton and Sarah Liss collaborated on “the ultimate N.Y.C. dystopia map,” which serves as an amalgamation of “some of the darkest visions of the city.” Meanwhile, Jacob Silverman points us to a map of St. Petersburg, Russia, “made out of lines from Russian literature.” (Bonus: Sternbergh discusses his novel with the Los Angeles Times.)