This morning: editing the literary canon, Philip Glass on children’s television, Joseph Riippi on Mary Miller’s latest, Amtrak literary residencies, and more.
Catching up with William Boyle, Polaroids of the 1980s art scene, Juan Wauters discusses his solo album, Marissa Nadler’s latest album, and more.
“To understand what makes António “Mia” Emílio Leite Couto special — even extraordinary — we have to loosen our grip on the binary that distinguishes between “the West” and “Africa.”” Aaron Bady on the novels of Mia Coutu. Want to read Sheila Heti’s 90s-era feminist zine? Benjamin Lytal talks about geography and fiction. Marissa Nadler covered the Game of Thrones theme song. Michael Robbins on his unread books. Roxane Gay interviewed Ben Schrank for Tin House. Michael H. Miller on Julian Schnabel. […]
Suzanne Collins really loves the Hunger Games movie. Mostly because it’s going to make her upwards to eleven bazillion dollars, but also because it does look pretty damn good. Esi Edugyan talks to CNN about her book, Half-Blood Blues. Jacob Silverman talks to Adam Wilson about Flatscreen, Texas, and Wilson’s inner-slacker. Going to Paris? Like books? Have we got the guide for you! Mother Jones loves the ladies. Peter Schjeldahl at The New Yorker on how the Whitney Biennial “surprises and […]
Quintron’s Magic House in New Orleans. It would seem that the writer who wrote the Slate article “Don’t Support Your Local Bookseller,” and called indie bookstores being “cultish,” isn’t too popular. Send Electric Literature your short story of 30 to 300 words. Marcel the Shell makes it onto NBC. Jarvis Cocker talks a little bit of poetry. Letters from George Orwell. A new video for Marissa Nadler’s “In Your Lair, Bear.” Follow Vol. 1 Brooklyn on Twitter, Facebook, and our Tumblr.
A roundup of things consumed by our editors. Tobias Carroll Finished Geoff Dyer’s Jeff in Venice, Death in Varanasai last weekend for one of the book groups I’m in. At first, I wasn’t as impressed with it as I’d been with his other work, but over time, the gulf between its two sections — one third-person, set in Venice, the other first-person and set in Varanasai — began to impress me more and more. Dyer leaves open the question of whether […]