Jim Romenesko

A new issue of n+1 film supplement N1FR is out, featuring Damion Searls on Margin Call, Christine Smallwood on Apichatpong “Joe” Weerasethakul (and on Herzognian caves), among other good things. To boot, the editor’s note begins with an apology: “This second edition of the N1FR, n+1’s film review, is very late,” writes A.S. Hamrah. “Its lateness has nothing to do with n+1 or with any of the contributors, or with our generous sponsor IFC Films. It’s entirely my fault.”

Minnesota-based Graywolf Press and literary magazine A Public Space are embarking on a new collaborative publishing effort. According to a Monday press release, “Graywolf plans to publish two A Public Space books per year, with ‘A Public Space Book’ printed on the back cover and in the interior.” The titles will be chosen and edited by A Public Space founder Brigid Hughes, who will announce the first book in the series within the next few months.

After his “messy breakup” with (or “semi-retirement” from) Poynter, Jim Romenesko, the news-aggregating pioneer and media watchdog with nearly 47,000 Twitter followers, is back, flagging an egregious ESPN headline (“Chink in the Armor”—about basketball player Jeremy Lin) and tracking down a statue of Confederacy of Dunces protagonist Ignatius J. Reilly.

Thanks to the recent success of two record-breaking projects, Kickstarter says it will give out over $150 million in fundraising this year—just over the $146 million that the National Endowment for the Arts will distribute in 2012. Does this mean that Kickstarter now offers more arts funding than the NEA?

A good old-fashioned literary feud is brewing in the South: Oxford American founder and editor Marc Smirnoff takes to the pages of his magazine to rail against competitor Garden & Gun, “the fancy ‘lifestyle’/Southern-culture magazine out of Charleston, South Carolina.” Smirnoff explains that when he started OA in the late ’80s, the only “Southern” magazines around “flaunted a South that seemed cordoned off for the private use and pleasure of wealthy white people.” His problem with Garden & Gun (“GAG to its foes; G&G to its partisans”) is “that I perceive in it a similar exclusivity—a similar whitewashing of the South.”

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