Chicagoland, a non-scripted documentary series produced by Robert Redford for CNN, premieres tonight. The show, touted as “Where policy meets real people’s lives,” ostensibly focuses its eight parts on the plight of a “heartland” city “generating change and innovation in social policy, education, and public safety.” Rick Kogan, writing for the Chicago Tribune, pins down the first episode’s emerging storylines—violence and public schools—as not necessarily un-akin to the offerings of scripted urban dramas like The Wire (the Trib will be live-blogging this evening’s premiere). Whether and what the show delivers remains to be seen, but Kogan’s review hints at a beautifully shot advertisement for a rebranded CNN and a program which, for better or worse, could define the city for years to come. Tune in for a cameo by UCP author Neil Steinberg, whose You Were Never in Chicago similarly captures our city in the raw through a series of essays that chronicle Steinberg’s own fixations and proclivities.
You can read more about You Were Never in Chicago here.
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Paddy Woodworth is an investigative reporter and journalist whose most recent book, Our Once and Future Planet, considers the case for environmental restoration. Woodworth recently participated in a Q & A with our promotions director, Levi Stahl; you’ll find the full transcript below:
Let’s start with the story of how you came to this subject, because (as I have the advantage of knowing) it’s a good one—and it involves a a couple of other writers.
By a happy accident! In 2003, I had recently published Dirty War, Clean Hands, a book on the very different subject of terrorism and state terrorism in the Basque conflict. On the back of that book, I was invited onto the International Writing Program at the University of Iowa. Weary of writing about why people kill each other, I was looking for a happier subject in natural history, but I found myself adrift, ignorant, and lost.
Then the great American novelist and naturalist Peter Mathiessen led us on a prairie restoration field trip and discussion. I had never heard this word, ‘restoration’, applied to anything other than houses or paintings. The idea that an ecosystem might be . . .
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The Folio Prize is the first major English-language book prize open to writers from around the world—an alternative to the Booker Prize (UK) and the National Book Award (US), featuring an international cast of nominees, that aspires, “to celebrate the best fiction of our time, regardless of form or genre, and to bring it to the attention of as many readers as possible.”
On Monday, the Folio committee announced their shortlist for the inaugural 2014 Prize, which followed rounds of nominations from their Academy and requisite letters of support from publishers. We could not be more delighted (truly!) to see Sergio De La Pava’s debut novel A Naked Singularity (published in the UK by Maclehose Editions) among the finalists, praised by Lavinia Greenlaw, chair of the judges, for its “detonating syntax.” Here’s the whole list, which certainly constitutes good company:
Red Doc by Anne Carson
Schroder by Amity Gaige
Last Friends by Jane Gardam
Benediction by Kent Haruf
The Flame Throwers by Rachel Kushner
A Girl Is A Half-Formed Thing by Eimear McBride
A Naked Singularity by Sergio De La Pava
Tenth of December by George Saunders
The winner will be announced March 10. Congrats to all the finalists—but we . . .
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From Janet Burroway, editor of A Story Larger than My Own:
We were shocked to learn of the death of Maxine Kumin, who in spite of a serious horse-riding accident, a year spent immobile in a metal “halo,” and permanent pain, continued to write fine poetry and prose and to exude essential vitality.
Kumin at 88 was what Carol Muske-Dukes calls the last member of the “august sisterhood of poets,” which included Sylvia Plath, Anne Sexton, and Adrienne Rich.
In one of her last published essays, Kumin traced her journey in “Metamorphosis: From Light Verse to the Poetry of Witness,” a kind of template for the writers in this book and for women of her generation, who began their careers in the fifties or early sixties and grew in stature as feminism grew. “I did not yet know that a quiet revolution in thinking was taking place,” she writes of her situation as a pregnant mother of two in 1956. “Of course motherhood was not enough. Perhaps I could become a literary critic?” She did that and much more.
An excerpt from “Metamorphosis: From Light Verse . . .
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Scott Cutler Shershow’s Deconstructing Dignity: A Critique of the Right-to-Die Debate employs Derridean theory to uncover self-contradictory and damaging assumptions that underlie both sides of the controversial discussion. In the piece below that Shershow drafted for the Chicago Blog, he contextualizes two cases that generated recent headlines about how—and to which extents—we define life, especially in light of its termination.
“Thinking and Rethinking the Right to Die” by Scott Cutler Shershow
The vexed question of a so-called “right to die” pushes its way to our attention again.
Hasn’t this all happened before, many times? An intimate family story is catapulted into the media spotlight; an unconscious being (once again, as is almost always the case, a female) becomes the figurehead for a protracted medical, legal, and political struggle; and each side accuses the other of being motivated by money.
In one of the two cases that have recently occupied our attention, the family of California teenager Jahi McMath, declared by her doctors to be “brain dead” after routine surgery, were granted permission by a judge to keep the girl on what is . . .
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