A novel Harper Lee wrote in the mid-1950s, before To Kill a Mockingbird, is going to be published this summer in a run of no fewer than two million copies. Go Set a Watchman, as the book is called, follows Mockingbird’s Scout as an adult. It was out of flashback scenes to Scout’s childhood that Mockingbird was born, on the advice of Lee’s editor.

The Financial Times will soon begin paying interns minimum wage for the first time in its history, the result of a deal brokered with Britain’s National Union of Journalists. The union promises that they will take on other employers over the issue as

The Huffington Post aims to take better advantage of Facebook by increasing the quantity of “feel-good” stories it publishes. In a recent memo to the staff, Arianna Huffington describes “What’s Working,” a new editorial initiative that, in her words, will “double down” on “positive stories and solutions to major challenges the media too often overlook.” HuffPo will still cover the bad stuff, but—as she also announced “last week in Davos”—it wants to start a “positive contagion by relentlessly telling the stories of people and communities doing amazing things, overcoming great odds, and facing

Christian Lorentzen reviews Mohamedou Ould Slahi’s Guantanamo Diary, “a relentless catalogue of grotesque abuses.” Mark Danner covers the heavily redacted book for the New York Times. The Intercept provides some information about how the book got published.

Frances McDormand, who recently starred in the adaptation of Elizabeth Strout’s Olive Kitteridge, has joined the cast of the adaptation of Meg Wolitzer’s novel The Wife.

The Los Angeles Review of Books has inaugurated a new series titled No Crisis, “a look at the state of critical thinking and writing—literary interpretation, art history,

John Leggett, who directed the Iowa Writers’ Workshop for sixteen years (1971 to 1987), has died at the age of ninety-seven. Among the students he admitted during his long tenure at the program were T. C. Boyle, Michael Cunningham, Denis Johnson, and Jane Smiley.

The director of news at Al Jazeera English, Salah Negm, says he welcomes the recent leaks about the organization’s coverage of the Charlie Hebdo attack. “I would like to state that our style guide and our editorial discussion is no secret,” he wrote in an email to the staff. “These so called ‘leaks’ don’t in my opinion prove anything

In this week’s New York magazine, Jonathan Chait sounds the old alarm of “political correctness.” For Chait, trigger warnings and the idea of “mansplaining,” among other Internet-centric phenomena, amount to a grave hazard to free-speech and liberalism. The Internet, in other words, has given the p.c. cops more reach. "Political correctness is not a rigorous commitment to social equality so much as a system of left-wing ideological repression," he argues. "Not only is it not a form of liberalism; it is antithetical to liberalism. Indeed, its most frequent victims turn out to be liberals

At Spiegel, New York Times executive editor Dean Baquet says the paper largely “failed” readers in the post-9/11 years, explains why the paper declined to run cartoons of Muhammad during the Charlie Hebdo story, and argues that the next Edward Snowden should bring his story to the Times, since the paper has the “guts” to publish it.

In the LARB, Roy Scranton writes about the “trauma hero myth” in war literature and in movies like American Sniper, which foreground the suffering of individual soldiers at the expense of the big picture: “We allow the psychological suffering endured by those we

The diary of Mohamedou Ould Slahi, a Guantanamo Bay prisoner charged with being a top level Al Qaeda recruiter, was just published (in heavily redacted form) after a seven-year legal fight. The Times recounts that one of the redacted passages is Slahi writing “I couldn’t help breaking in At the Paris Review, read an excerpt of Elaine Blair’s interview with Vivian Gornick, whose new memoir, The Old Woman and the City, is expected in May. Gornick’s independence and severity are in full display in the conversation. “My editor and my agent kept urging me to write more about myself and love,” she

The Economist has hired Zanny Minton Beddoes as editor. Formerly the business affairs editor, she’s the first woman to be in charge at the magazine.

The New Yorker rounds up its coverage of authors named as 2014 NBCC award finalists (announced Monday), including work by Blake Bailey, Roz Chast, and Elizabeth Kolbert; reviews of Claudia Rankine, Marilynne Robinson, and John Lahr; and criticism by Alexandra Schwartz.

The NYPD is more closely monitoring the city’s media outlets in the wake of recent attacks in Paris.

At Artforum, John Ashbery remembers the painter Jane Freilicher, who died last

Genius collaborated with PolitiFact to |http://www.politifact.com/truth-o-meter/article/2015/jan/20/barack-obamas-2015-state-union-address-annotated/#|annotate Tuesday’s State of the Union| address, rating Obama's statements for their factuality.

At n+1, Alicia Garza, one of the organizers (along with Patrisse Cullors and Opal Tometi) behind #blacklivesmatter, talks about how the hashtag was born and where the movement is heading. Garza recounts her reaction to George Zimmerman’s acquittal in the killing of Trayvon Martin: “A lot of what I was hearing and seeing on social media was that they were never going to charge somebody and convict somebody of killing a black child. My thing was: I’m not satisfied with that. I’m not satisfied with the ‘I told you so’ and I’m not satisfied with the nihilistic ‘it’ll never happen’ kind of thing.”

Genius (formerly Rap Genius) has introduced a tool that will let people annotate anything on the internet. Add genius.com/ to the beginning of any URL and you’ll be able to access a version of the page on which you can correct, comment on, or interpret anything you please. The project is still in beta, so at the moment only a handful of people have permission to annotate, but anyone can view their annotations. The company recently brought on a number of new people, including music critic Sasha Frere-Jones, formerly of the New Yorker, and Emily Segal of K-Hole, the artist collective most famous