At the Creative Independent, Ada Limón discusses her poetry collection The Carrying and how writing these intimate, bold poems helped her make sense of the world. “I always want to make work that matters, even if it’s just to myself,” she says. “I didn’t know how to really process what I was going through in my own personal life without just writing about it. Writing is how I make sense of the world, so it would be hard not to write the poems.”
The t-shirt team at kafkacotton has generously offered to extend a special deal to readers of The Millions (knowing, I assume, that you bookish folks will dig t-shirts that cleverly proclaim their love for classic books). Use the discount code “THEMILLIONS” to get 10% off. Remember to put the discount code in the “Message to Seller” box. Then, I’m told, you can either immediately pay the full price and they’ll issue you a refund for the discount amount or you can wait for kafkacotton to send you a revised, discounted invoice. Thanks for setting up this deal kafkacotton!
“Good TV is not merely good TV (i.e. better-than-average TV), but TV that is so good it deserves to be taken as seriously as great films and even great Literature (yes, with a capital ‘L’). As such, watching Good TV and discussing Good TV are qualitatively different than watching and talking about other kinds of TV. The emergence of Good TV is a rather big deal in the recent history of American culture. It may well be one of the top two or three cultural developments of this still-young century.” Todd Hasak-Lowy dissects the TV revolution. (Pair with: our own Michael Bourne on the new age of cable and Broadway.) (h/t The Rumpus)
“These were not like other poems: within their consistent 16-line armature they were turbulent, mad, feverish, cryptic, an unruly union of boppy jive-talk, and thorny quasi-Elizabethan diction. It was impossible to tell who was speaking, or to whom; poems ended in mid-syllable, bristled with random phrases in foreign languages, sported menacing-looking accent marks and Shakespearean contractions, were riddled with ampersands and ellipses.” At The Rumpus, a memory of falling in love with The Dream Songs (which happens to nicely complement a piece we published back in April).
“Why can’t we keep our literary heroes where they belong, at the top of the bookshelf next to all the others? And why must we ache for their approval, their admiration, their love?” Alex Gilvarry posts about writers who dare to approach their literary heroes for the Paris Review Daily.