JSTOR will be familiar to many readers as the repository of academic papers from which Aaron Swartz performed his fateful download at MIT. But many may not realize that JSTOR, a nonprofit, was already planning to make the public domain portion of its immense scholarly archive accessible to the public, as it has since done.
Furthering this project of making the informational wealth of the academy more accessible to the public, JSTOR recently launched JSTOR Daily, providing public access to the strange and fascinating world of the academy in a beautiful, eclectic and intelligent publication. It’s still in beta, but it is great. Recent articles include “Outbeat: America’s First LGBT Jazz Festival”, “Chess Grandmastery: Nature, Gender, and the Genius of Judit Polgár,” and “Is Marijuana Good for Public Health?”
Editor Catherine Halley speaks with us about JSTOR Daily in a fun, freewheeling conversation.
Editor’s Note: Each year, the Los Angeles Review of Books hosts a summer internship program that features the LARB Publishing Course: a weekly seminar series on how to edit, design and ultimately publish a magazine. As part of the Course, the interns take over LARB‘s tabloid print magazine and publish their own edition. It is a real world experience: the interns acquire content, edit and copyedit the articles, solicit art, and ultimately bring it to press.
The internship program is over now that it’s November, but the LARB Intern Magazine is finished and has just been sent out to our members. I corresponded with three of the interns most involved with producing the magazine: Steven Williams, the Managing Editor, Cypress Mars, the Deputy Managing Editor, and Zach Mann, the Layout Editor and Copy Desk Chief. Continue reading
Photo credit Alex Crétey Systermans.
By Joanna Chen
“Can I give blood too?” my son asks as I stand in the doorway, car keys in one hand, my bag and a bottle of water in the other. “No,” I say. “You can’t. You’re too young.” He is fifteen years old and has a genetic disease. He will probably never be able to donate blood. Continue reading
This week, our featured triptych artist is Alison Saar. Born in Los Angeles, Alison’s many solo exhibitions include Hothouse, Watts Towers Art Center, Watts, CA, and Slough, L.A., Louver, Venice, CA. She also has participated in several group exhibitions including Women and Print (2014, Ruth Candler Williamson Gallery, Scripps College) and New York City Parks Sculptures Honoring the African American Experience (The Arsenal, Central Park, New York).
This week’s triptych features her work “Cotton Eater” (2013, wood cotton, acrylic, and tar, 64 x 20 1/2 x 17 1/2 in. (162.6 x 52.1 x 44.5 cm. Copyright Alison Saar. Courtesy of L.A. Louver, Venice, CA).
By Paul French
A boring Englishman leaves home one morning to post a letter while his wife runs the vacuum cleaner over the upstairs carpets. He doesn’t come back. Instead he walks from one end of England to the other. Not, one would think, an immediately attractive scenario for a novel that has been read by millions of Chinese readers in the PRC and Taiwan and topped the book charts in both countries. Yet it has. Rachel Joyce’s debut novel, The Unlikely Pilgrimage of Harold Fry, got rave reviews in the UK when it was first published in 2012, became a bestseller, was shortlisted for the Commonwealth Book Prize and longlisted for the Man Booker. Fine, but what’s got Chinese readers so captivated about boring English everyman Harold Fry? Continue reading
By Douglas Greenberg
The following is a feature article from the new LARB Quarterly Journal: Fall 2014 edition. To pick up your copy of the Journal, become a member of the Los Angeles Review of Books at the $15 monthly level.
All photographs courtesy of Carol K. Kammen. All rights reserved.
MY MENTOR AND FRIEND Michael Kammen died last November. A widely published and Pulitzer Prize–winning author, his passing was duly noted in The New York Times, The Washington Post, and other newspapers. The newsletters of various historical organizations also printed warm and admiring obituaries.
Individually some of these death notices contained factual errors or interpretive eccentricities that Michael would have found amusing, although he was too meticulous a scholar to have committed such mistakes himself. Collectively, however, they described a scholar and university professor who was literally prodigious. Continue reading
Come join LARB and Flaunt Magazine tonight at Lit Crawl. Event info is in the poster above. There will be readings from a series of pieces on palm trees – a collaboration we did with Flaunt this summer. You can read the pieces here, but be sure to come out to the event tonight as well to have them read to you!
By Austin Dean
The writer Xiao Hong is everywhere in China these days. Her face recently graced the covers of a score of newspapers and magazines; the publication Sanlian Weekly devoted over thirty pages to her; billboards advertised the recently released film about her career. In fact, the new film The Golden Era is the second Xiao Hong biopic to come out in the space of just two years—the first one, Fallen Flowers, hit theaters in March 2013. A remarkable accomplishment, particularly since Xiao published most of her work in the 1920s and 1930s and passed away in 1942. Continue reading
David Grand’s latest novel, Mount Terminus, was 10 years in the making.
This is and isn’t unusual. James Joyce’s Portrait of the Artist was 13 years from start to publication, Ulysses six years, Finnegans Wake took 17 — three novels and a collection of short stories over 33 years.
William Dean Howells, on the other hand, published 53 books in a 50-year career. Henry James, too, a bit over a book a year. Stephen King is right around two books a year. Flaubert, though, famously tried to get a good sentence a day.
Fast books and slow books. There is no necessary relation to quality, but I feel one can sense the slow construction of Grand’s Mount Terminus. Like a French sauce, it has deep flavors, the thought and story and emotion reduced to their essences, and a complex, multileveled world results. Continue reading
By Paul French
We generally think of Shanghai between the world wars as unique, a one-off city forming a crossroads between East and West. It was, according to this line of thinking, unique in being a place representing the modern in a country largely composed of the ancient. This vision of it is compelling, but one can’t help reading Charles King’s excellent new biography of inter-war Istanbul – Midnight at the Pera Palace: The Birth of Modern Istanbul – without drawing comparisons between the city on the Bosphorus and the city on the Huangpoo. The similarities are legion: in general, both were forward-looking cities in countries that had suffered long-term decline in economic and political power; both were cities that, although not capitals, became the fulcrums of their national politics; and both were cities that sought modernity with a humongous appetite for the novel and the cosmopolitan. Continue reading