September 22, 2017

Orion is publishing an anthology about Brexit this November. Goodbye, Europe, will include works from forty-six contributors, including a short story by Lionel Shriver “about a relationship ending in the wake of the referendum,” a reflection by Jessie Burton “about her first visit to the continent,” and an essay by Robert MacFarlane “about the flight paths of the migrant bird species that the UK shares with Europe.”

Shaun King has been hired by The Intercept as a columnist. Most recently, King was a columnist at the New York Daily News. The website has also added Vanessa Gezari as national security editor, Aída Chávez as a political reporter, Maryam Saleh as associate editor, and Kate Aronoff and Rachel M. Cohen as contributing writers.

Carmen Maria Machado. Photo: Tom Storm

Booker-winning novelist Michael Ondaatje is working on a new novel. Warlight will be published by Knopf next May.

Annie Proulx will receive a lifetime achievement award from the National Book Foundation. The prize will be presented at a dinner ceremony in November.

Carmen Maria Machado talks to Hazlitt about bodies, fabulism, and why women writers tend toward uncanny subjects in their work. “Being a woman is inherently uncanny. Your humanity is liminal; your body is forfeit; your mind is doubted as a matter of course,” she said. “You exist in the periphery, and I think many women writers can’t help but respond to that state.”

Laura Kipnis tells the New Yorker’s Jeannie Suk Gersen that she was investigated for Title IX violations again last summer after the publication of her book, Unwanted Advances. Kipnis said that the complaint was brought by four Northwestern faculty members and five graduate students, including the unnamed student in her book who has also filed a defamation case against Kipnis and her publisher, HarperCollins. “These complaints seem like an attempt to bend the campus judicial system to punish someone whose work involves questioning the campus judicial system,” Kipnis said in a statement to her investigators. “In other words,” Suk Gersen writes, “the process was the punishment.”

Vanity Fair’s Joe Pompeo reports on the fight between Blurred Lines author Vanessa Grigoriadis and critic Michelle Goldberg over Goldberg’s review of Grigoriadis’s book. The argument began after Grigoriadis responded to Goldberg’s review, which claimed that the book contained several factual errors. On her Facebook page, Grigoriadis responded to each supposed error, writing that “not one charge [Goldberg] makes in her review is correct.” The Times issued a correction, but the conflict is complicated by the fact that both Goldberg and Grigoriadis work for the paper: Goldberg was recently hired as a columnist for the Op-Ed page, while Grigoriadis is a contributing writer for the New York Times Magazine. Pompeo notes that the mistake not only calls editorial page editor James Bennet’s decision-making into question, but also reflects poorly on the paper’s recent restructuring of the copy desk, in which “strong editors” handle both copy editing and fact checking. “If anything, the response to this controversy may simply underscore a sense of unease within the halls of 620 Eighth Avenue as the Times undergoes important and necessary changes,” he concludes. “Change is hard for any company—but especially for a 165-year-old institution where tradition is so deeply embedded in the D.N.A.”

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