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The author of Don’t F*** This Up! talks about his new book and its confronting title, on the dimensions of success, his core ideas, advice for job seekers, and more.
This collection by Donald Vincent deserves to be read not just for his lyrical lines but because his poems bring emotional life to a cultural crisis. Books of poetry like Vincent’s convey social and personal histories that affirm and remind, that interrupt tendencies of convenient amnesia.
These poems are all very New York-y, another source of the gritty joie de vivre at the heart of his outlook. Having been born in New York and lived his entire life in New York, this is natural, but it informs Gloeggler’s attitude, and there’s so much New York atmosphere, from scenes, neighborhoods, personalities, institutions, the public transportation.
I’d be lying if I said I didn’t spend time Googling these people, or that I wasn’t fascinated by the whole notion of what constitutes beauty – and the way in which it’s judged. Kofman doesn’t pretend to have an answer—Imperfect is not a didactic book, and nor does it present a thesis that beauty is more than ‘skin deep’ and that judgement in any form is bad–we cannot help gazing at the beautiful or indeed the shocking. What the book does show however, is that these are complex and important questions to raise and that familiarity and reflectiveness are a means to better understanding who we are.
Sally Bird runs Calidris Literary Agency. In this in-depth interview, she talks about the changing role of the literary agent, the repercussions of Covid-19 on the book world: authors, publishers, and readers, post-covid predictions, advice for authors, and lots more.
Margaret Atwood’s Cat’s Eye was shortlisted for the Booker prize in 1989. I haven’t read The Remains of the Day, the book that won, but it doesn’t matter. Cat’s Eye was robbed. Every sentence in the novel’s 498 pages serves the whole beating heart of it. No word is superfluous. Each one is a mini portal, transporting us and the main character, Elaine, back into memories without warning, exactly as Atwood intended.
The author of The Journalist talks about her new book and its inspiration, about her big brother Jerry Rose, why it took her so long, on ‘ghost-writing’, her own life, and lots more.
Collectively, the films present a compelling story of quiet tenacity, talent, and artistic determination. The films are all exquisite, featuring a distinctive blend of narration by Pearlman overlaying an Expressionist montage of documentary images, storytelling, and visual imagery to create seamless shifts between past and present, inner life and outer, and the creative process versus the finished film.
Gill’s book is a tour de force in bringing together information about Virginia Woolf’s Pattle ancestors and the Thackeray connection; in showing the damaging patriarchal milieu out of which she fought her way, and in highlighting her use of autobiographical material in her novels.