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The Fault in Our Canon: A Reading List About Problems in the Literary Canon

This brief list is but a glimpse of the complex, crucial and ongoing discussion about the importance of inclusivity and the problems with privilege in the literary canon. Please share your recommendations: essays and articles in this vein, books you wish the canon could accept, etc.

1. “On ‘The John Green Effect,’ Contemporary Realism, and Form as a Political Act.” (Anne Ursu, Terrible Trivium, May 2014)

Realism’s literary privilege in America, the diminishment of other genres, the erasure of minority voices and the weird fact that everyone seems to have forgotten that fantastic YA fiction was around for a long time before John Green took pen to paper.

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The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

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Education Reform, Spent on Consultants

During the next two years, more than twenty million dollars of Zuckerberg’s gift and matching donations went to consulting firms with various specialties: public relations, human resources, communications, data analysis, teacher evaluation. Many of the consultants had worked for Joel Klein, Teach for America, and other programs in the tight-knit reform movement, and a number of them had contracts with several school systems financed by Race to the Top grants and venture philanthropy. The going rate for individual consultants in Newark was a thousand dollars a day. Vivian Cox Fraser, the president of the Urban League of Essex County, observed, “Everybody’s getting paid, but Raheem still can’t read.”

Dale Russakoff, in The New Yorker, on what happened to Mark Zuckerberg, Chris Christie and Cory Booker’s plan to reform schools in Newark.

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The Future Is Dark: Uncertainty's Creative Power

Rebecca Solnit, writing in The New Yorker, offers a celebration of the imagination’s best ally: the ability to say “I don’t know.” Solnit looks at subtlety and subjectivity in her own writing, and in that of a hero of the art, Virginia Woolf:

During my years as an art critic I used to joke that museums love artists the way that taxidermists love deer, and something of that desire to secure, to stabilize, to render certain and definite the open-ended, nebulous, and adventurous work of artists is present in many who work in that confinement sometimes called the art world.

A similar kind of aggression against the slipperiness of the work and the ambiguities of the artist’s intent and meaning often exists in literary criticism and academic scholarship, a desire to make certain what is uncertain, to know what is unknowable, to turn the flight across the sky into the roast upon the plate, to classify and contain. What escapes categorization can escape detection altogether.

There is a kind of counter-criticism that seeks to expand the work of art, by connecting it, opening up its meanings, inviting in the possibilities. A great work of criticism can liberate a work of art, to be seen fully, to remain alive, to engage in a conversation that will not ever end but will instead keep feeding the imagination. Not against interpretation, but against confinement, against the killing of the spirit. Such criticism is itself great art.

This is a kind of criticism that does not pit the critic against the text, does not seek authority. It seeks instead to travel with the work and its ideas, invite it to blossom and invite others into a conversation that might have previously seemed impenetrable, to draw out relationships that might have been unseen and open doors that might have been locked. This is a kind of criticism that respects the essential mystery of a work of art, which is in part its beauty and its pleasure, both of which are irreducible and subjective.

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More stories on creativity from the Longreads archive.

Photo via Smithsonian/Flickr

Working 9 to 5: A Reading List About the Way We Work

Longreads Pick

This week’s picks from Emily include stories from The Billfold, the Walker Art Center, The New Yorker’s Currency blog, and The New York Times.

Source: Longreads
Published: May 4, 2014

Working 9 to 5: A Reading List About the Way We Work

The lines between my life and these lists blur often, and this week is no exception; I begin a new job tomorrow.

1. “Workin’ 9 to 5 (What a Way to Make a Living).” (Megan Reynolds, The Billfold, April 2014)

“I can’t shake the feeling that the 9-to-5 grind carries the one hallmark of adulthood—obligation. The work of the modern office employee is finely tuned drudgery, a daily exercise in doing stuff that you don’t necessarily want to do, but know you have to.”

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The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

Sign up to receive this list free every Friday in your inbox.

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The 2014 National Magazine Award Winners: A Reading List

Longreads Pick

A collection of stories from Thursday night’s awards, including The New Yorker, Time and National Geographic.

Author: Editors
Source: Longreads
Published: May 1, 2014

The 2014 National Magazine Award Winners: A Reading List

The American Society of Magazine Editors handed out its 2014 National Magazine Awards Thursday night, with Fast CompanyNew York magazine, Inc., Poetry magazine and Modern Farmer all taking home trophies. Boston Magazine’s stirring cover image (above) following the Boston Marathon bombings was named ASME’s Cover of the Year.

Below is a reading list featuring some of the stories honored Thursday night. Read more…

Alexander Woollcott and Harpo Marx: A Love Story

Ned Stuckey-French | culturefront | 1999 | 21 minutes (5,289 words)

Our latest Longreads Member Pick is “Alexander Woollcott and Harpo Marx: A Love Story,” by Ned Stuckey-French, originally published in 1999 in culturefront, the former magazine for the New York Council for the Humanities. It’s a story that takes a closer look at the dynamics of a friendship, and the roles we play in each other’s lives.

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Alexander Woollcott fell in love with Harpo Marx the first time he saw him. It was the evening of May 19, 1924, and the Marx Brothers were making their Broadway debut in the slyly titled musical comedy I’ll Say She Is. Woollcott was there, reluctantly, to review it for the Sun. Another show, a much-hyped drama featuring a French music-­hall star, had been scheduled to open the same night, but when it was postponed at the last minute, the first­line critics decided to take the night off. Except for Woollcott. His career was in the doldrums, and hoping against hope for a scoop, he dragged himself over to see what he assumed were “some damned acrobats.” Read more…