Scholars think they’ve found Milton’s annotated copy of Shakespeare’s First Folio

Scholars think they’ve found Milton’s annotated copy of Shakespeare’s First Folio

Welcome to Vox’s weekly book link roundup, a curated selection of the internet’s best writing on books and related subjects. Here’s the best the web has to offer for the week of September 15, 2019. For $1,200 per person, groups of about eight spend Saturday and Sunday at her Manhattan apartment, in Washington Heights — or, on one occasion, for $1,800, in a borrowed house in Los Angeles — for a course in first-person essays or memoir, with a focus on idea creation, writing, editing, rewriting and pitching. (The New York program used to cost $1,600 and included a chef-cooked dinner. Also, smaller groups pay slightly less because with fewer students, more time is spent writing during the workshop itself.) “I tell my students, ‘We are going to come to this work as if I am your editor, and as if it was 15 years ago when an editor would actually talk to you on the phone or even take you out to lunch,’” she said. Also at the Times, Sarah Lyall’s profile of Ann Patchett doubles as a lesson in how to revise a manuscript that refuses to be tamed:

It was getting to the end of 2018. Patchett had just a few months left before her no-going-back deadline, and like an unruly toddler, the book would not behave. She pulled it together with help from a number of friends, all writers themselves. From Barbara Kingsolver, Patchett got the idea to change what happens to the children’s mother. From Nell Freudenberger, she got the recommendation to read the works of Kate DiCamillo, author of “Because of Winn-Dixie,” with whom she began an email friendship — and who then suggested a new ending. Sociologist Robin DiAngelo writes in White Fragility: Why It’s So Hard for White People to Talk About Racism that “white people raised in Western society are conditioned into a white supremacist worldview because it is the bedrock of our society and its institutions.” Additionally, she writes, because white people maintain dominance in our society—operating, for example, all major branches of government and major corporations—we are the only ones who can execute our specific breed of racism. Therefore, the stories of people casually and brutally enacting racism are ours to be familiar with. Because Instagram emphasizes pictures over text, the platform gives readers new ways to encounter old lyrical modes. Poems on Instagram get shared, viewed, and saved as images, rather than text files, so their visual presentation matters. But instead of exploring the innovative textual styles that computers make possible, such as animated text or unusual fonts, most Insta-poets deploy nostalgic visual tokens of literary refinement. They write in ornate scripts, use old manual typewriters, present their work on richly textured paper, or include little illustrations. Such techniques ironically use Instagram to reassert the traditional notion that genuine poetic expression looks inky and papery — that a poet’s work appears most authentic not on an ephemeral, impersonal screen but on the scribbly, insistently material paper she […]

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