Nick Ripatrazone

1 week ago | thebulwark.com | Nick Ripatrazone

The Fact Checkerby Austin KelleyAtlantic Monthly Press, 256 pp., $27IN THE 1950S, TO CAPTURE WHAT IT WAS LIKE to have his stories sunk by a fact-checker, a Time magazine writer came up with a song. “I don’t think we can say this / I don’t like how we play this / I’m not sure that’s the way this was,” it went, with the words sung to the tune of “You’re Just in Love,” by Irving Berlin.

1 week ago | yahoo.com | Nick Ripatrazone

The Fact Checkerby Austin KelleyAtlantic Monthly Press, 256 pp., $27IN THE 1950S, TO CAPTURE WHAT IT WAS LIKE to have his stories sunk by a fact-checker, a Time magazine writer came up with a song. “I don’t think we can say this / I don’t like how we play this / I’m not sure that’s the way this was,” it went, with the words sung to the tune of “You’re Just in Love,” by Irving Berlin.

2 weeks ago | lithub.com | Nick Ripatrazone

In 1977, Val Kilmer was 17. He was “raw with grief” over the recent death of his younger brother, Wesley. He flung himself into his studies at Juilliard, where he’d auditioned for the drama program with a poem. “I wrote my own piece because I couldn’t find anything that would be fresh,” he said. “They’d heard everything and I knew that, so I decided to do my own thing and see how it went.” His own thing was “Sand,” an original poem:Sand.

2 months ago | lithub.com | Nick Ripatrazone

“For a time it was fun.”Article continues after advertisementIn November 1923, Ford Madox Ford, “like everyone else in Paris,” was sick with flu. Yet he was optimistic. He dashed off letters from a typewriter set on “a table across my bed.” In 1908, Ford founded The English Review, and edited its first fifteen issues. Now, as he wrote his daughter, he was “at my old game of starting reviews” again. The Transatlantic Review had an almost preternatural birth.

2 months ago | catholicherald.co.uk | Nick Ripatrazone

Nearly a hundred years ago, the English writer IA Richards coined a phrase that has become a mainstay of literary studies. “All respectable poetry,” he wrote in Practical Criticism, “invites close reading.” Richards would never again use the phrase, but it has become synonymous with a type of reading that his critical method influenced. In On Close Reading, John Guillory mines the origin and evolution of this rather imprecise phrase – and why its ambiguity might be a problem.