• October 2, 2015

    In the wake of another mass shooting, this time at a college campus in Oregon, there has been disagreement over how journalists should proceed in reporting such events immediately after the fact, especially when using social media. In responding to the events in Oregon, the president made a statement that Vox calls “as angry as Obama publicly gets”: “We know that other countries, in response to one mass shooting, have been able to craft laws that almost eliminate mass shootings. . . . So we know there are ways to prevent it. And, of course, what’s also routine is that somebody, somewhere will comment and say, Obama politicized this issue.  Well, this is something we should politicize.”

    As of November 1, Chris Cox, who has worked at Harper’s since 2010, will take over from Ellen Rosenbush as its editor.

    In the New Republic, Cathy Park Hong offers a corrective to the recent focus on Kenneth Goldsmith, writing that “the poetry world has been riven by a crisis where the old guard—epitomized by Goldsmith—has collapsed.” She writes about the new American poetry, “a movement galvanized by the activism of Black Lives Matter, spearheaded by writers of color who are at home in social media activism and print magazines; some poets are redefining the avant-garde while others are fueling a raw politics into the personal lyric. Their aesthetic may be divergent, but they share a common belief that as poets, they must engage in social practice.”

    The winner of this year’s Nobel Prize is likely to be announced soon. Cue the annual Joyce Carol Oates and Philip Roth speculations (“I wonder,” Roth winningly remarked last year, “if I had called ‘Portnoy’s Complaint’ ‘The Orgasm Under Rapacious Capitalism,’ if I would thereby have earned the favor of the Swedish Academy”). Other current bookies’ favorites apparently include Svetlana Alexievich, Ngũgĩ wa Thiong’o, and Haruki Murakami.

    Jonathan Bate’s new book on Ted Hughes, which was to have been an “authorized” biography before access was withdrawn, nonetheless looks to offer new insight into both Hughes and Plath.

    For the Guardian, Michelle Dean interviews Eileen Myles.

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