Elsewhere:

A Hyperion movie!  [via Cinematical]

"As soon as you try to define what the essence of creativity is, some sort of context or comparison is required if you want any interesting discussion. Why did Picasso depict women in such ugly, distorted ways in his paintings? Because Picasso is Picasso? Or because he treated women like tissues…soiling and discarding them in his wake."

Hating Sloane Crosley: “I read two sentences that Sloane wrote in the Village Voice and I was so angry that it caused me to place my pet hamster in the microwave and watch it explode. This is not a common reaction that I get from writers. But Sloane’s words caused me to do this. I was depressed for weeks. And I blame her for running me over the edge.”

Squidpunk!

Kirkus with an all-SF issue, including a profile on Jeff and Ann VanderMeer (with regards to their New Weird anthology). (PDF)

"Pittsburgh," by Meghan Austin, in Failbetter.  Nearly perfect.

And, finally, Colm Toibin on Hart Crane:

As is clear from his early letters, Crane as a reader set about preparing himself with enormous zeal and moral seriousness to become that "potential factor." Despite his provincial background and his problems with his parents, and then partly because of them, he found a tone and a poetic diction that matched a sensibility which was both visionary and deeply rooted in the real. In his poems he worked a gnarled, edgy sound against the singing line; he played a language dense with metaphor and suggestion against images and rhythms of pure soaring beauty. His syntax had something hard and glittering in it, utterly surprising. In his best poems he managed to make the rhythms—the hidden nervous system in the words and between the words—so interesting, intense, and effortless that they command attention and emotional response despite their verbal density, basic difficulty, and what Crane himself called "tangential slants, inter-woven symbolisms."