We’re digging the cover for Colson Whitehead’s forthcoming novel, Sag Harbor.
Wikipedia find of the week:Fakelore: “Fakelore is inauthentic, manufactured folklore presented as if it were genuinely traditional.”
Murakami’suneasy relationship with Japan: “He has been seen, and to some degree positioned himself, as a literary pariah in Japan, in part because of its tepid-to-negative critical reception of his work.”
Further reading: Check out the interesting Kindle pro and con in the comments of Max’s Kindle/iPhone post this week; And check out the interesting discussion of the New Yorker’s commitment (or lack thereof) to international literature in the comments of Garth’s DFW post.
The Masters Review has announced Ann and Jeff VanderMeer as the judges for this year’s Fall Fiction Contest. The winning story will receive a $2,000 cash prize as well as publication in the magazine. Go submit, then read Josh Rolnick’s essay for The Millions on ten things he's learned in over a decade of sending out stories.
Tom Jenks, co-founder of Narrative Magazine (which charges writers $23 to submit), is releasing a 400-page, six-chapter craft book on the art of imaginative fiction titled A Poetics of Fiction. The information inside the book is billed as “more than useful—it’s essential and not readily available anywhere else”—maybe that’s why it retails for $225.
What happens when you put one of the biggest literary egos together with music's biggest ego? A movie. Bret Easton Ellis is working with Kanye West on a film. "He came and asked me to write the film," Ellis toldVice. "I didn't want to at first. Then I listened to Yeezus...I thought, regardless of whether I'm right for this project, I want to work with whoever made this." This is an interesting pairing because Kanye definitely isn't a reader.
"We find ourselves in a swarm of fellow starstruck souls outside the Sheraton Hotel on Seventh Avenue in Manhattan, churning, squirming." 25 years after the publication of Bonfire of the Vanities, Tom Wolfe returns to the subject of Wall Street. You can also check out my review of his most recent novel, Back to Blood, over here.
"Up until very recently, I'd recount my online experiences with some degree of shame or sheepishness, but in this apocalyptic year of 2012, that embarrassment is beginning to fall by the wayside. I've been having more and more conversations with people grappling with what is gained and lost by how some of our most meaningful musical discoveries-- not to mention life experiences-- have happened in front of, or facilitated by, screens." Over at Pitchfork, a new column dedicated to the intersections between digital and ordinary life - and the art these interactions can produce.