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  • Want to write about science? Let Sir Thomas Browne, “17th-century know-it-all,” show you how.


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    ~Kaulie Lewis
  • “This is the first one, the big one, the ur-road movie: the Odyssey.” Charlotte Higgins writes about how Homer’s epic goes far beyond geography for The Guardian.


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    ~Kaulie Lewis
  • Ernest Hemingway, “the godfather of long-form” nonfiction? Richard Brody argues so in the New Yorker, citing Hemingway’s autobiographical, and wildly ambitious, The Green Hills of Africa.


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    ~Kaulie Lewis
  • As part of a collaboration with several international magazines, Full-Stop is publishing Babelsprech International, a series of articles on poetry around the world. In the latest edition, Karel Piorecký writes about contemporary Czech poetry, drawing a line between the pre- and post-Communist periods. Related: John Yargo on the Czech writer Bohumil Hrabal.


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    ~Thomas Beckwith
  • Recommended Reading: Adam Gopnik on the writings of Max Beerbohm.


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    ~Thomas Beckwith
  • Anyone who’s majored in the humanities has likely heard warnings that it’s better to major in the sciences. If, as many would have it, we live in a scientist’s world, what place is there for the arts? At the Ploughshares blog, Cathe Shubert finds a place for writers in a STEM-obsessed society. You could also read Cathy Day on the job prospects of writers.


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    ~Thomas Beckwith
  • We’ve covered the Atlantic series By Heart a number of times before. It features notable authors writing about their favorite passages. In the latest edition, Mary-Beth Hughes picks out a paragraph from Penelope Fitzgerald’s The Blue Flower, about a poet who’s trying to cope with grief. Sample quote: “Reading Fitzgerald, I felt it was possible to write as I’d experienced dancing.”


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    ~Thomas Beckwith
  • Apparently the confessional poets hated being known as confessional poets. Writers like John Berryman and W.D. Snodgrass responded badly when given the label. How do we understand their shared revulsion to the term? At The Paris Review Daily, an argument that we can find the answer in an unlikely place: The Twilight Zone.


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    ~Thomas Beckwith
  • “This is minor, but I noticed a few typos. For instance, at various points on pages 144 through 148 and also on page 202, you wrote, ‘All wokr and no play makes Jack a dull boy.’ And on page 308, it’s ‘All work and no play makes Jack a dull Jack.’ If that one’s intentional, it provides a nice break from the preceding 307 pages, and the levity is a nice contrast to the monotony.” Notes on a Jack Torrance manuscript.


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    ~Thomas Beckwith
  • Is death “in” as a topic? It may seem like a ridiculous idea, but Lorraine Berry has evidence to back it up. She argues, using Benjamin Johncock’s The Last Pilot, among others, as proof, that mourning and grief are enjoying a bit of a renaissance.


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    ~Thomas Beckwith
  • Etgar Keret, one of Israel’s best-known fiction writers, has a new memoir out, The Seven Good Years. The book covers a seven-year stretch between the birth of his son and the death of his father. At The Rumpus, Ryan Krull talks with Keret about the memoir, nuclear politics and living in Warsaw. You could also read Bezalel Stern on Keret’s most recent collection of short stories.


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    ~Thomas Beckwith
  • New this week: The Dying Grass by William T. Vollmann; Kitchens of the Great Midwest by J. Ryan Stradal; Gonzo Girl by Cheryl Della Pietra; How to Be a Grown-Up by Emma McLaughlin and Nicola Kraus; Crooked Heart by Lissa Evans; and The Night Stages by Jane Urquhart. For more on these and other new titles, check out our Great Second-Half 2015 Book Preview. Support The Millions: Bookmark this link and start there when you shop at Amazon.


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    ~Thomas Beckwith