If you like the music of groups like Portishead, CocoRosie, and the Cocteau Twins, you might be interested in the eerie musical dreamscapes of Emily Wells, a gifted violinist and vocalist whose work combines classical, folk, and hip hop. Here she performs “Symphony 1 In the Barrel of a Gun.”
Recent estate sales, auctions, and rights deals concerning the legacy and works of William Faulkner are “raising complex questions about what happens to the works of great writers after they die,” writes Stefanie Cohen. “For their part, Faulkner’s heirs say they aim to both honor the writer’s work and raise funds.” (Bonus: the ongoing, public legal battle over rights to Harper Lee’s To Kill a Mockingbird.)
“The label ‘Immigrant Fiction’ derives from the same problematic Pantheon in which ‘Women’s Literature,’ ‘Black Literature,’ and more, exist. Unlike the genre of, say, science fiction, which describes the content and style of the writing, categories like ‘immigrant’ or ‘Black’ fiction seem to be concerned more with the author’s identity and/or perceived audience.” On literary categories and immigrant fiction, over at Guernica.
“On the surface ‘The Lady with the Little Dog’ is a love story,” writes Elliott Holt in a blog post for The Missouri Review. “[It’s] a romantic one at that, but it’s also about the tension between the person we show the world and the one we keep to ourselves. The older I get, the more the story resonates with me.”
Last week I asked “What about J.T. Leroy?” I was wondering when the Leroy hoaxers were going to come forward. Now, one of them has. Warren St. John of the New York Times got Geoffrey Knoop to come clean on the record. Knoop also said that he didn’t think Laura Albert, who wrote the Leroy books, would ever come forward: “‘For her, it’s very personal,’ he said. ‘It’s not a hoax. It’s a part of her.'”Meanwhile, PopMatters put together a special section about Leroy and James Frey. I enjoyed The Rake’s related comments on why Frey can’t hold a candle to Charles Bukowski.I saw Brokeback Mountain a few days ago and thoroughly enjoyed it. In an excerpt from Brokeback Mountain: Story to Screenplay, Annie Proulx describes what it was like seeing her story on the screen: “I felt that, just as the ancient Egyptians had removed a corpse’s brain through the nostril with a slender hook before mummification, the cast and crew of this film, from the director down, had gotten into my mind and pulled out images.” (via Maud)This Boston Globe column articulates quite precisely how I feel about the strife surrounding the cartoons of Mohammed published in a Danish newspaper.
“It all started with A Is For Alibi, then came B Is For Burglar, C Is For Corpse and on and on through the alphabet.” NPR interviews Sue Grafton about her Kinsey Millhone series, currently spanning 25 letters – the newest and penultimate entry, Y for Yesterday, comes out today – and 35 years. Pair with Ujala Sehgal‘s list of five crime novels where women are the true detectives.
Months after 60 Minutes aired its damning profile of Central Asia Institute’s founder Greg Mortensen (Three Cups of Tea), the American Institute for Philanthropy has called for his resignation. The call comes on the heels of Jon Krakauer‘s investigation into Mortensen’s use of the CAI’s finances.
New this week: Amnesia by Peter Carey; Outline by Rachel Cusk; The First Bad Man by Miranda July; Binary Star by Sarah Gerard; Bonita Avenue by Peter Buwalda; The Girl on the Train by Paula Hawkins; Refund by Karen Bender; In Some Other World, Maybe by Shari Goldhagen; Harraga by Boualem Sansal; and West of Sunset by Stewart O’Nan. For more on these and other new titles, check out our Great 2015 First-Half Book Preview.