Meet the writer who added “lol” to the end of every sentence of In Search of Lost Time.

By James Folta

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September 17, 2024, 1:05pm

Have you ever wondered what would happen if Proust’s seven-volume classic In Search of Lost Time and your text messages stepped into the telepod from The Fly? You might get something like Andrew Weatherhead’s bizarre and compelling web literature project, the full text of Proust’s masterwork with “lol” added to the end of each and every sentence.

Andrew shared a full PDF of his mash-up in a tweet. It’s brilliant; the opening lines of Swann’s Way, the first volume, become:

For a long time I used to go to bed early lol. Sometimes, when I had put out my candle, my eyes would close so quickly that I had not even time to say “I’m going to sleep lol.” And half an hour later the thought that it was time to go to sleep would awaken me; I would try to put away the book which, I imagined, was still in my hands, and to blow out the light; I had been thinking all the time, while I was asleep, of what I had just been reading, but my thoughts had run into a channel of their own, until I myself seemed actually to have become the subject of my book: a church, a quartet, the rivalry between Francois I and Charles V lol.

And the “lol”s keep coming, at the end of every sentence for 2,154 pages.

The added acronyms shifted my reading of Proust’s Big, Important, Classic Novel onto more pedestrian terrain, closer to a text or an email with a friend. “For a long time I used to go to bed early lol” becomes an insecure admission, something you’re embarrassed to have said aloud at a dinner with friends. It also reads as a casual, almost flirty reveal, like something you’d DM a crush.

The whole project is fascinating and very fun to flip through. I got curious about the mind behind the lols and reached out to Andrew, a writer and artist who has published four poetry collections. He’s already at work on another literary pastiche: “an experimental, “collage” translation of Infinite Jest.” (He sent me some pictures of that in-progress project.)

I chatted with Andrew over email about his lol Proust, what the response has been like, and the thing he considers to be as embarrassing as going viral.

***

What inspired this project? What was your lol-madeleine moment?

I was writing a work email and ended consecutive sentences with “lol.” In that moment, I recognized the literary potential of using “lol” at the end of every sentence of a piece of writing, and immediately—almost reflexively—thought: “In Search of Lost Time but every sentence ends with ‘lol.’” I thought I would just tweet that, but then I wanted to see what that would actually look like.

What would you call this? Is it an act of translation? A cover? A Twitter bit?

I’d say part translation and part conceptual art, in the form of a Twitter bit.

Do you know Gilbert Sorrentino’s novel Gold Fools? He takes a campy Western novel and just makes every sentence interrogative. E.g. Were Nort Shannon, Dick Shannon, and Bud Merkel exceptionally morose as they sat before the small bunkhouse and about the flames of the blazing campfire? Was their recent failed adventure in ranching all over, and did Bud, in particular, think it time to pack it in?

It’s amazing.

In hindsight, I was definitely channeling that influence, though I did not think of it until right now, sitting here answering your question.

Beyond the fun juxtaposition of high-brow with low-brow, what do your additions add to the text? Were there any surprises?

I was surprised how well the idea worked and to realize how “low-brow” Proust actually is. His grammar is intense, but he’s really just a chatty romantic, like so many of us. The “lol” punctuation fit perfectly.

Are there any In Search of Lolst Time sentences that you found particularly satisfying?

I like them all. The short ones are good, and the long ones have this fun mounting suspense, waiting for the “lol” punchline to drop.

What has the response been like?

Kind of annoying, actually. I usually have a pretty healthy relationship with my phone and social media, but it’s like I can’t help myself from checking since the tweet started to snowball.

I’m glad people are getting a kick out of it, but it’s been the kind of ephemeral, “very online” memeification that doesn’t translate to the real world, so it feels a little dubious and embarrassing. Like, I apologized when I told my wife, a school teacher, that my tweet was going viral. It’s like being in a ska band or something.

Are you a big Proust fan? What do you like about his writing?

I feel generally positive towards Proust. I’ve only read the Lydia Davis translation of Swann’s Way, which I loved, and I probably loved it for all the same reasons other people love it. I have Within a Budding Grove on my bookshelf and look forward to reading it one day.

What would you say to folks who are intimidated by Proust?

Just stay positive.

Am I supposed to read all this? On spending time with Jenny Holzer’s word art.

By Brittany Allen

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September 17, 2024, 10:00am

There’s a scene in Vinson Cunningham’s debut novel, Great Expectations, when a preternaturally jaded Obama campaign worker is mystified by something he sees on the wall at a donor’s house. Describing the piece as a hodgepodge of text and light, David (our hero) doesn’t initially recognize the neon event for what it is—a piece of modern art. It’s only later, some time farther along in his sentimental education, that he learns the respectable province of the work and its creator.

That creator is Jenny Holzer, a visual artist known for making large-scale, text-based installations. Holzer made her name with the series of “Truisms” posters she mounted around New York in the 1970s. A lauded member of the downtown art world, her work was popularized by adoring critics like Gary Indiana.

Holzer’s work is the subject of a retrospective running at the Guggenheim Museum in New York through the end of this month. “Light Line” is a remounting of a 1989 exhibit, and the project is as awe-inspiring twenty-five years later as it was then. But given the hodgepodge of text and light, this book nerd wondered. How are we supposed to read the work?

*

Holzer is hardly the first visual artist to work with text. Her peers include the anonymous Guerilla Girls collective, the boldly feminist Barbara Kruger, and a mess of folks emerging from a commercial art background, like Ed Ruscha. An even wider canon of painters play with text alongside vivid imagery, like Basquiat.

But where her other text-curious peers went for spare pronouncements, narrative, or absurdity, a lot of Holzer’s work is tonally expansive. As Jed Perl put it in The New York Review of Books, the Guggenheim show resists easy categorization. The centerpiece, a long ribbon of LED-mounted text encircling the famous spiral, “combines pseudophilosophy, wise-guy polemic, and aimless chatter in one gigantic post-Duchampian attention grabber.”

A visitor can stand at the base of the Gugg-stairs and receive instructions like “Destroy superabundance.” But these mandates are framed by more confessional asides, like “I want to tell you what I know in case it is of use.” If you are a text-lover generally out of depth in the visual world, this onslaught of modes and messages can be muddling.

Who is speaking? I often wondered, to the long ribbon of text. Is it the artist herself? Not always. Plaques reveal that Holzer’s work is a blend of personal and found text. Yet it’s not quite anonymous, this voice. Is it my conscience? My inner critic? A pundit, perhaps? 

Once I’d admitted these pesky critical questions, I couldn’t resist the urge to hunt for narrative meaning in the exhibit.

Is it a bird, is it a plane, is it…a poem?

*

Better critical minds have debated the whole mode thing in Holzer’s work. I’ll offer that what I discovered when you meet her text like it’s poetry—which is to say, if you read it—the voice can become very clear.

In an antechamber on the first floor, multi-colored pamphlets describe scenes of wartime horror. (Though “Description of Inflammatory Wall: 1979-82” is time-stamped, you can’t help but hear Palestine in text like “The city is in ruins,” and “I can still feel the shrapnel move inside my brain.”)

The bright color scheme does something to lift the text out of a solemn newsroom spirit. But there’s nothing irreverent about any of this reportage. And where an editorial voice is present, so is anger.

One panel indicts an obvious, specific, musky sort of villain. “Here’s a message to you. Space travel is uncertain and any refuge of yours can be blown off the map.”

On the spiral’s upper reaches, you can find similarly unambiguous political messages. There’s a series of Donald Trump’s more inflammatory tweets cast in bronze. And at the peak, a blown-up document details torture methods favored by the U.S. government. These messages made me nod, made me sigh. They did not surprise. But then I wondered if they ever meant to.

In Cunningham’s novel, the presence of the Holzer piece in a chi-chi politico’s home signifies elite capture. For Holzer can be read as the victim of a familiar art world narrative herself. An agitator is beloved, “discovered” by the market, and then pressed into symbolic service bestowing exactly the kind of hollow cache that the early work was designed to protest. As David doesn’t observe in Great Expectations, the fact that Holzer’s art can be repurposed as message art for well-meaning, well-heeled liberals feels a little on-the-nose. But if one digestible truism is all the artist is going for, what then is the point of all this abundance?

In other words. If one clear, activating, right-headed message is the point—why take so many words to say it?

*

There are books that pummel you with text till the words are beside the point. The old one-sentence doorstops. Lucy Ellmann’s Ducks, Newburyport. László Krasznahorkai’s new novel, Herscht 07769. As I wound my way back down the spiral steps, I tried to think of Holzer’s work in that spirit. I let the light run over me like the hodgepodge of text it is.

Released from the trouble of parsing meaning, you can surf the “Light Line” and catch a word or phrase where you will. I enjoyed reading it backwards and forwards. I’d dip in and out, delighting in repetition. I’d grab a musing—”I love my mind when it is f*cking the cracks of events”—and set it down.

When you don’t try to make sense of the messages, the absurdism sings. Some of my favorite text in “Light Line” reads like deadpan jokes. You can imagine a voice-to-voice macro reading it tonelessly aloud. “A lack of charisma can be fatal.” Sure thing. True thing.

And what does all that absurdity amount to? Nothing less than the feeling of being alive today. Noise next to brilliance. The sense that you’re missing something important, as it whizzes over your head.

Rumaan Alam! Gay Shakespeare! How Elon Musk killed Twitter! 26 new books out today.

By Gabrielle Bellot

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September 17, 2024, 4:51am

It’s another Tuesday, just at that moment in September when its linger summeriness may begin to shift more decisively into the cooler fires of autumn, but there’s no shift in one thing: that September has a ton of new books to be excited about. And today is no exception.

You’ll find robust showings in fiction, poetry, and nonfiction, with anticipated fiction by Lauren Elkin, Will Self, Rumaan Alam, Tony Tulathimutte, Nora Lange, and many others; poetry collections from Kim Addonizio, Ted Kooser, Raymond Antrobus, Patrick James Dunagan, and others; and nonfiction exploring the LGBTQ context of Shakespeare’s—Shakesqueer’s?—plays and milieu; Richard Flanagan with a genre-defying account of genocide, war, family, and more; the iconic journalist Connie Chung’s memoir; a look at how Elon Musk toppled Twitter; and much, much more.

Riches and more riches. Read on—it’s a delightful day for new books.

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Lauren Elkin, Scaffolding
(FSG)

“[Scaffolding] shows off Elkin’s rich, scholarly mind to great effect….A book laden with lust and desire, amorous missteps and the ways in which we can often only understand ourselves in relation to the whims and choices of others.”
–Vanessa Peterson

Rumaan Alaam, Entitlement
(Riverhead)

“With an atmosphere that is sexy, enchanting, and unsettling, Rumaan Alam’s expert fourth novel probes concepts of privilege, wealth, value, and morality.”
–Shelf Awareness

Tony Tulathimutte, Rejection: Fiction
(William Morrow)

“Phenomenal…few writers dramatize the effects of being perennially online as astutely and engagingly as Tulathimutte does here. Rejection is thoughtfully and artfully constructed and outrageously entertaining.”
–Booklist

Richard Flanagan, Question 7
(Knopf)

“A small masterpiece….It’s a memoir about his parents, interwoven with meditations on Tasmania, genocide, colonialism, the atomic bomb, H.G. Wells and Rebecca West. That sounds hard going but it is fiercely alive and genuinely hard to put down.”
–Mark Haddon

Will Tosh, Straight Acting: The Hidden Queer Lives of William Shakespeare
(Seal Press)

“At once magisterial and saucy, Straight Acting gets to the heart of Shakespeare’s queer literary formation. Will Tosh writes with clarity and cheek, drawing on forgotten contemporaries, reminding us of the cultural status of ancient Greek texts and their sexual mores, and remapping a homoerotic geography of Elizabethan London…deeply researched…This fresh account kickstarts the queer canon of English literature: Shakespeare won’t go back in the closet again.”
–Emma Smith

Emily Witt, Health and Safety: A Breakdown
(Pantheon Books)

“Witt, with a gimlet eye and a voice that never shies away from the truth…offers a tour of the years that begin with the surreal catastrophe of the 2016 election and through the COVID years and the murder of George Floyd, giving us insight to a time that all too often feels like a nightmare that has, like all dreams, begun to fade from memory. This remarkable book didn’t just allow me to relive that time, but helped me to understand it.”
–Ayelet Waldman

Raymond Antrobus, Signs, Music
(Tin House)

“Reading Raymond Antrobus’s Signs, Music, was an exhilarating (re)ride into the wonders and terrors of becoming a new parent. It’s hard to explain how much parenting can change a person, but Antrobus succeeds….Here is a beautiful mapping of a journey of this life that becomes this life in all of its anaphoric radiance. Each letter in these poems is bursting at the seams.”
–Victoria Chang

Kim Addonizio, Exit Opera: Poems
(NortonP

“National Book Award finalist Addonizio (Now We’re Getting Somewhere) uses frank, wittily caustic language to ask what life means and how to ride out its anxieties; she knows exactly how absurd our existence is, and she’s not backing down….Addonizio frames her life as an opera (‘maybe an aria sung by a feral kitten’), and as she contemplates the curtain (see her title), she turns in a gutsy, bravura performance.”
–Library Journal

Ted Kooser, Raft
(Copper Canyon Press)

“Kooser is a master of the subjective description. Empathetic without sentimentality, his eye ranges over all sorts of everyday subjects and finds material everywhere wherever the unpredictable particularity of the world can be glimpsed.”
–Georgia Review

Will Self, Elaine
(Grove Press)

“A shattering portrait of a woman trapped by her domestic responsibilities and lingering ‘postpartum neurosis’….Self pulls off a painfully authentic depiction of Elaine’s interior life, doing justice to her fierce anger and sexual desire along with her fears and humiliations. This is a tour de force.”
–Publishers Weekly

Nora Lange, Us Fools
(Two Dollar Radio)

“Nora Lange’s remarkably tender and moving Us Fools is a beautiful portrait of the parallel, intersecting, and occasionally derailing tracks of two sisters coming of age in an America as broken as ever. The backdrop is the Eighties Midwest farm crisis though Lange expertly weaves in classic literature, philosophy, and socioeconomics with a graceful touch….[A] truly singular and yet deeply, painfully, intimately American vision.”
–Porochista Khakpour

Mariana Enriquez, A Sunny Place for Shady People: Stories (trans. Megan McDowell)
(Hogarth)

“Enriquez’s Our Share of Night earned her a prominent place among innovative South American writers, and the stories here deliver the same squelchy charms….A dozen pitch-black Argentinean stories laced with body horror, self-incrimination, and existential dread…solidifies Enríquez’s reputation as a purveyor of haunting and thought-provoking tales.”
–Kirkus Reviews

Abi Maxwell, One Day I’ll Grow Up and Be a Beautiful Woman: A Mother’s Story
(Knopf)

“This book is a compelling and visceral portrayal of a mother’s pain, joy, hope, and heartbreak as she fights for her daughter’s right to safely be herself. As a parent of a transgender child and as an advocate, I am deeply grateful for Abi Maxwell’s vulnerability and honesty in sharing what too many families across the country are facing in these turbulent times…humanity [is] laid bare in these pages.”
–Jamie Bruesehoff

Kate Conger, Ryan Mac, Character Limit: How Elon Musk Destroyed Twitter
(Penguin Press)

“Engrossing, precise….New York Times reporters Conger and Mac collaborate successfully on an ambitious narrative capturing how Musk engineered Twitter’s downfall, set against the vast financial stakes and dehumanizing aspects of the tech economy….Compelling fusion of business history and worrisome social narrative.”
–Kirkus Reviews

Connie Chung, Connie: A Memoir
(Grand Central Publishing)

“This delightful memoir is filled with Connie Chung’s trademark wit, sharp insights, and deep understanding of people. It’s a revealing account of what it’s like to be a woman breaking barriers in the world of TV news, filled with colorful tales of rivalry and triumph. But it also has a larger theme: how the line between serious reporting and tabloid journalism became blurred.”
–Walter Isaacson

Jillian Weise, Pills and Jacksonvilles: Poems
(Ecco Press)

“Jillian Weise is a genius of our time. The poems in Pills and Jacksonvilles are incisive and impious and anguished and indicting; they are blunt, they are coy, they are ruthless. Weise writes against the insidious normativity and ableism that permeates the literary world (and beyond) and toward a future that is wild and wide. And…this book does perhaps the most important thing that can be done in poetry (and beyond): it has a party at the end.”
–Natalie Shapero

Lyndsay Rush, A Bit Much: Poems
(St. Martin’s)

“A Bit Much has the kind of warmth, wisdom, and wit that will leave you crying, laughing, or cry-laughing. Lyndsay Rush’s poetry brilliantly blends both the playful and poignant parts of womanhood through sharp observations, creative wordplay, and killer punchlines, placing you back in the scenes of your life when you most needed to feel seen. Every woman who has been made to feel like they deserve less will cherish A Bit Much.”
–Kate Kennedy

Patrick James Dunagan, City Bird and Other Poems
(City Lights Books)

“Patrick James Dunagan is a champion of San Francisco poetics, both as an editor and a poet, and City Bird and Other Poems is a certain cause for celebration. Poems become embodied conversation with the city’s literary cosmos: resurrected voices of poets, aerials of city streets and landscapes. Irreverent and real City Bird is a book where the poems are life, and the maps are terrain.”
–Mary Catherine Kinniburgh

Louis Bayard, The Wildes: A Novel in Five Acts
(Algonquin)

“Louis Bayard brings his singular historical imagination to this moving, multifaceted portrait of Oscar Wilde’s family. The Wildes is a marvel of tenderness, irony, heartbreak, and reclamation that demonstrates why Bayard is among the most essential—and most entertaining—interrogators of the past.”
–Anthony Marra

Esinam Bediako, Blood on the Brain
(Red Hen Press)

“Bediako is a promising new [Ghanaian American] voice…with insight, subtlety, and power, she shows the complexities of race and identity in a voice that is refreshingly honest and accessible to anyone who has ever felt like an outsider. This book throbs with true vulnerability about the human need to belong. Her talent is undeniable; she is a writer to watch.”
–Taylor Larsen

Sonia Purnell, Kingmaker: Pamela Harriman’s Astonishing Life of Power, Seduction, and Intrigue
(Viking)

“With Kingmaker, Sonia Purnell emerges as one of the most accomplished biographers of our time. Once again, she gifts readers with a vivid, glittering, sexy, scintillating, beautifully written portrait of a woman who drove twentieth-century history even as history was driving her….Kingmaker is a rich and nuanced study of power–its allure, its perils, the gratifications and the great cost of its pursuit.
–Liza Mundy

Chase Joynt, Vantage Points: On Media as Trans Memoir
(Arsenal Pulp Press)

“Genre and form defying, Vantage Points is a remarkably subversive book by one of our generation’s most brilliant trans media-makers. At once a vigorous intellectual engagement with the work of Canadian philosopher Marshall McLuhan, a lyrical family counter-history, a formal experiment, and a powerful reckoning with inherited trauma, violence, and (relatedly) normative masculinity, Vantage Points is…as inventive as it is deeply moving.”
–Thomas Page McBee

Timothy Snyder, On Freedom
(Crown Publishing Group)

“A great and daring book. In this magnificent meditation on the nature and meaning of humanity, Timothy Snyder rejects the idea that freedom is merely the absence of restraint, establishing instead that it is the presence of the conditions necessary for people to choose a better future. Above all, Snyder’s insightful and powerful work reminds us that freedom is about humanity, and that creating a better world is up to us.”
–Heather Cox

Nemonte Nenquimo, Mitch Anderson, We Will Be Jaguars: A Memoir of My People
(Abrams Press)

“Full of wisdom, sadness, flourishes of joy and more than a few psychedelic visions, We Will Not be Saved is testament not only to Nenquimo’s resilience but also her deep spiritual connection to her land and ancestors….[It] plant[s] readers right in the heart of the rainforest, immersing them in its sounds, smells and kaleidoscopic landscapes. Many are the memoirs that profess to tell untold stories, but here that claim is watertight.”
–The Guardian

David Brock, Stench: The Making of the Thomas Court and the Unmaking of America
(Knopf)

“A full-throated denunciation of a corrupt, thoroughly politicized Supreme Court in which the true chief justice is Clarence Thomas….The Court, writes Brock, became Thomas’s the minute Amy Coney Barrett took Ruth Bader Ginsberg’s seat on the bench in 2020….Critics of the current Supreme Court will find plenty of support in Brock’s aggrieved, well-documented exposé.”
–Kirkus Reviews

Adam Hanieh, Crude Capitalism: Oil, Corporate Power, and the Making of the World Market
(Verso)

“[A] field guide for navigating the difficult terrain in which we now find ourselves: situated between an accelerating climate crisis and an economy structured around fossil fuels. [Hanieh’s] insightful dissection of the often invisible ubiquity of fossil fuels in our lives—reaching far beyond energy into the food we eat, the clothes we wear and the medicines we prescribe—is integral to understanding not only why we remain so stuck in our fossil-addicted present, but critically how we might move beyond it.”
–Adrienne Buller

Here’s the 2024 Booker Prize shortlist.

By Literary Hub

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September 16, 2024, 2:18pm

Today, the Booker Prizes announced their 2024 shortlist: six books narrowed down from the “Booker’s Dozen” (otherwise known as the longlist of 13), chosen from a starting pool of 156 books written in English and published between October 2023 and September 2024. Shortlisters are awarded £2,500 and the winner will take home £50,000, on top of the resultant sales and bragging rights. This year, in case you were wondering, there are zero Pauls in the running.

Here’s the shortlist:

Percival Everett, James
Samantha Harvey, Orbital
Rachel Kushner, Creation Lake
Anne Michaels, Held
Yael van der Wouden, The Safekeep
Charlotte Wood, Stone Yard Devotional

This year’s judges are Edmund de Waal (Chair), Sara Collins, Justine Jordan, Yiyun Li, and Nitin Sawhney. The winner will be announced on Tuesday, November 12, in London.

Oxford University Press USA Guild is protesting the firing of 13 unionized staffers.

By James Folta

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September 13, 2024, 12:16pm

The OUP USA Guild, part of the News Media Guild and representing around 150 workers, is demanding that Oxford University Press reverse the recent firing of US-based workers, claiming the layoffs are in violation of the Collective Bargaining Agreement that management and the union signed just three weeks ago. 13 members of the Guild are among the fired, including the entire North American Design team and the US Content Transformation and Standards team.

OUP USA Guild has filed a grievance, and questions the justification for the layoffs:

Management has attempted to justify these layoffs to our members on the highly dubious grounds that the US and UK teams are duplicative and that the amount of work has been reduced, despite these teams’ heavy workloads (many of which have only increased since before the pandemic). These are the people who design OUP’s award-winning covers and graphics, do complex data work that sustains OUP’s digital products, and so much more. Together, they represent nearly two centuries of service and dedication to OUP’s mission. They and their teams are irreplaceable.

Publisher’s Weekly got a statement from OUP defending their decision: “Like many organizations, we have to adapt how we work so that we are best-placed to achieve our mission and future ambitions. We are grateful to all of those affected for their contributions and quality of their work over the years.”

This isn’t the first time the OUP USA Guild, which joined the News Media Guild in September 2021, has alleged that management has fired workers in bad faith. In April, their union chair Scott Morales was let go, which drew swift disapproval by the Guild. The Guild voted to strike in June, before a tentative bargaining agreement was reached in late July.

Oxford University Press publishes the very popular Very Short Introduction series, as well as academic work geared towards specialized readers—stuff like The Werewolf in the Ancient World by Daniel Ogden, which I enjoyed even if a lot of the scholarly references went over my head. And I can see an OUP edition of Hamlet on my shelf now, with its well-designed, austere cover—I wonder if that designer is currently out of work.

The Guild’s entire statement is below.

OXFORD UNIVERSITY PRESS LAYS OFF ENTIRE US DESIGN, DIGITAL CONTENT TRANSFORMATION AND STANDARDS TEAM

September 11, 2024 – Three weeks after ratifying their first Collective Bargaining Agreement (CBA), Oxford University Press has notified 13 members of the bargaining unit that they and their teams are being laid off. This includes the entire US/North America Design team and the entire US Content Transformation and Standards team.

The OUP USA Guild has filed a grievance in response to these layoffs. We assert that they violate the CBA’s jurisdiction article, which protects historic union work from being relocated out of the unit, and the layoffs article.

Management has attempted to justify these layoffs to our members on the highly dubious grounds that the US and UK teams are duplicative and that the amount of work has been reduced, despite these teams’ heavy workloads (many of which have only increased since before the pandemic). These are the people who design OUP’s award-winning covers and graphics, do complex data work that sustains OUP’s digital products, and so much more. Together, they represent nearly two centuries of service and dedication to OUP’s mission. They and their teams are irreplaceable.

We demand that OUP immediately reverse this disastrous decision and reinstate these roles.

Workers at Oxford University Press voted to join the News Media Guild in September 2021 and ratified their first contract in August 2024. The Guild represents about 150 workers in all aspects of publishing.

The News Media Guild is Local 31222 of The NewsGuild-Communications Workers of America. Founded in 1958, it also represents workers at The Associated Press, the Guardian-US, the EFE News Service, Financial Times-US, Democracy Works, With Intelligence, and United Press International.