Literary Hub has an excerpt of an essay by Chris Jackson, Editor in Chief of Random House’s One World imprint on how we can actually achieve diversity in the publishing industry. “What’s the payoff of having a more diverse workforce? Well, there’s obviously the moral case to be made—and that’s a case that I think applies to any industry. But in book publishing, I think we have a special obligation, given our central role in shaping the culture.” And he shares the origin story of how he started to work with Ta-Nehisi Coates.
The Social Network writer Aaron Sorkin has signed on to adapt a biopic about Steve Jobs (not to be confused with the Ashton Kutcher one) which will be based on Walter Isaacson’s biography of the same name. Meanwhile, as the news was announced, Sorkin gave a memorable commencement address at Syracuse University.
Over at the Oyster Review Alexandra Edwards takes a literary tour of Florida, guided by “a few writers who chart Florida’s strange vacillation between the modern and the primordial,” including the likes of Elizabeth Bishop, Zora Neale Hurston and Ernest Hemingway. Our own Nick Moran has also profiled the literature of the Sunshine State, though his take was a little more “Floridapocalyptic.”
“All poems of public grief are private poems first,” writes Mark Doty in his evaluation of Wisława Szymborska’s poem, “Photograph from September 11th.” Indeed, what Doty learned “over the course of those dozen years, was that the words one hammers out in private, in order to attempt some kind of sense, may end up being used by people in ways you could have never anticipated.”
One consequence of creating a beloved show is that you’ve got to deal with superficial paeans to it. David Simon has to know this, but he still seems cranky in this interview. Of course I’m not saying he can’t be chagrined by Grantland or Vulture’s recent TV brackets (which Simon singled out in subsequent remarks), but when he says he’s “it’s wearying” for people “to be picking [The Wire] apart now like it’s a deck of cards or like they were there the whole time or they understood it the whole time,” it’s a bit harder to take his side, and you feel like he hasn’t watched Erlend Lavik’s sophisticated and thorough video essay about The Wire‘s visual style. Surely analyses like this (or Žižek‘s, which we’ve mentioned before) deserve due credit.