Words

“He would reject work, but praise the writing. His form rejections included a note: “It happens that I am both the editor of the Blue Moon and also the head of a critical revision business. If you have your manuscript revised I, as editor of the Blue Moon, shall then be glad to consider your story for publication in the magazine.” More than 30 writers agreed. Jessup took their money, and kept their stories.” – LitHub

Linguistic decline is the cultural equivalent of the boy who cried wolf, except the wolf never turns up. Perhaps this is why, even though the idea that language is going to the dogs is widespread, nothing much has been done to mitigate it: it’s a powerful intuition, but the evidence of its effects has simply never materialised. That is because it is unscientific nonsense. – The Guardian

“The New Colossus” (“Give me your tired, your poor, …”) was not mainstream American sentiment when Emma Lazarus wrote it in 1883 (one year after the Immigrant Act and the Chinese Exclusion Act). Indeed, it was somewhat radical, and she was inspired by the work she did with the despised refugees who were flooding the U.S. in her day (Jews from the Russian Empire). Slate history maven Rebecca Onion talks with Lazarus biographer Esther Schor about the poem and how its reception has changed over the decades. – Slate

It’s not only because so many people learn them as second or third languages. Recent research has indicated that, even when a language is new or developing, it has to have simple rules in order for large groups of people who don’t know each other well to make themselves understood. – The Economist

When we learn how the world is made through words, we also learn to be sceptical of our current iteration of reality and more tolerant of other perspectives. If life can be differently worded, it can be differently lived. – The Guardian

“In Sub-Saharan Africa, … ‘book fairs’ have been publishing industry affairs where players meet to do deals … away from the reading public. Until recently. In the last decade and a half, there has been a rise of a new kind of literary festival where writers and readers interact over their text and how it affects their lives.” – Quartz

“Genesis was capable of making dozens of inferences about the story and several discoveries. It triggered concept patterns for ideas that weren’t explicitly stated in the story, recognizing the themes of violated belief, origin story, medicine man, and creation. It seemed to comprehend the elements of Crow literature, from unknowable events to the concept of medicine to the uniform treatment of all beings and the idea of differences as a source of strength.” – Nautilus

Spanish, Portuguese, Swedish, Norwegian, and Dutch, along with English, assign Greek this particular honor. In the Baltic languages, it’s Spanish; the Bulgarians use “Patagonian.” And the Greeks? They, along with more nations than any other, use Chinese to signify the incomprehensible. Dan Nosowitz looks into the origins of the expression. – Atlas Obscura

Behrouz Boochani’s No Friend but the Mountains, which recounts his escape from Iran to Indonesia and onward to Australia by boat, has just won the $25,000 National Biography Award, the fourth prize it has received in a year. Boochani composed the book text message by text message, which he sent from the detention center on Manus Island in Papua New Guinea. – The Guardian

“I got kind of tired seeing classics just for scholarly use or school use,” says the inveterate reader who became frustrated, she says, with clunky, boring or dated designs of books, which were not intended to appeal to new readers. “It’s not many publishers that have set up a classics backlist like this. It’s usually the big multinationals … they can print huge quantities of these books and warehouse them across the world. I’m just starting small.” – Toronto Star

“We no longer accept that writing must be lifeless, that it can only convey our tone of voice roughly and imprecisely, or that nuanced writing is the exclusive domain of professionals. We’re creating new rules for typographical tone of voice. Not the kind of rules that are imposed from on high, but the kind of rules that emerge from the collective practice of a couple billion social monkeys — rules that enliven our social interactions.” – The Atlantic

In an effort to keep his father’s books in front of a new generation of readers, the younger Mr. Salinger is beginning to ease up, gradually lifting a cloud of secrecy that has obscured the life and work of one of America’s most influential and enigmatic writers. – The New York Times

Ross Douthat: “Her passing raises the question: Is she the last of the species? The last American novelist who made novels seem essential to an educated person’s understanding of her country?” – The New York Times

In New York City and Los Angeles, the country’s two capitals for audiobook work, narrators annually earn around $40,000 on average, according to Voices.com. A large publisher might pay as much as $350 per hour, but smaller publishers might pay $50 or less per hour, with the rate tied to how long they say it should take to read a certain number of pages. To make a decent return on your labor, you have to be good. – Washington Post

Are we ready to argue that translation is not merely an interpretative task, but also an artistic one, and that translators are artists? As tempting as this upgrade in status seems, I would argue for something else. – Public Books

As Amazon Studios does with movies, Amazon Publishing feeds the content pipelines created by the tech giant’s online storefront and Amazon Prime membership program. At its most extreme, Amazon Publishing is a triumph of vertical engineering: If a reader buys one of its titles on a Kindle, Amazon receives a cut both as publisher and as bookseller—not to mention whatever markup it made on the device in the first place, as well as the amortized value of having created more content to draw people into its various book-subscription offerings. – The Atlantic

For Australian philosopher Roman Krznaric, author of Carpe Diem Regained, the “hijacking [of carpe diem] is an existential crime of the century–and one we have barely noticed.” Krznaric is concerned that the philosophy has come to mean something else, almost the antithesis of what Horace’s words actually meant. – JSTOR

“Since the attempted coup of 2016, according to Turkey’s ministry of education, … 301,878 books [have] been destroyed as the government cracks down on anything linked to Fethullah Gülen, the US-based Muslim cleric who is accused by Turkey of instigating [that] coup.” – The Guardian

“He had recently read my book “Contested Will,” about the controversy over the authorship of William Shakespeare’s plays. Like most scholars today, I freely acknowledged that Shakespeare had co-authored plays, and Stevens wondered if I might be open-minded on the subject of his having collaborated with the Earl of Oxford.” – The New Yorker

Laura Miller: “For many kids, reading the Scary Stories books represented a first tentative step toward growing up and into independence. … Unlike, say, a Playboy magazine, they weren’t absolutely forbidden. But one glance at Gammell’s hollow-eyed ghouls, shrieking skeletal brides, and gibbering specters told any kid that here was something that danced right on the edge of taboo. … To claim your right to deliberately scare yourself (even if it gives you nightmares) is to make a bid for self-determination.” – Slate

“The Faber story certainly speaks volumes about the mix of passion, shrewdness, and luck that it takes to keep such an operation afloat; it also raises the question of who, ultimately, a publishing house like Faber & Faber really belongs to. Is it the stockholders, whose involvement in the day-to-day life of the company is sometimes remote? Is it the staff—publishers, editors, and others—who set the tone and direction during their tenure? Or is it the writers, whose work is the company’s real raison d’être and lifeblood?” – The New Yorker

“The pieces were originally composed by Proust in his early 20s for inclusion in his first book, Les Plaisirs et les jours (Pleasures and Days), a collection of poems and short stories first published in 1896. But for some reason, Proust decided to cut these nine works from the book.” (He may have decided that their subject matter was too scandalous.) – Smithsonian Magazine

Is it ego, recognition from others, the catharsis of a journey of self-discovery or the conviction the information contained in the book is something the world desperately needs? That’s a complicated question. I can attest there’s something very gratifying about seeing your name in print. It just depends on what it’s worth to you. – San Francisco Chronicle

Der Rosendorn (The Rose Thorn), about a young woman’s argument with her own vagina about which of them men care more about, had been thought to date from the early 16th century. But a strip of parchment found in the library of an Austrian monastery indicates that the bawdy verse story was written ca. 1300 (if not earlier). – The Guardian

Most textbooks have said that the first English sonnet sequence was Philip Sidney’s Astrophil and Stella (1591). Yet three decades earlier, Anne Vaughan Lock’s A Meditation of a Penitent Sinner, a 26-stanza paraphrase of Psalm 51, was published as an appendix in a 1560 volume of Lock’s own translations of a set of Jean Calvin’s sermons. – The New Yorker