Loudpoet has an interview with former Soft Skull Press publisher Richard Nash about his new social publishing venture Cursor. ““Social” is taking the book and making it much easier to have a conversation with the book and its writer, and have conversations around the book and its writer.” Is this a way forward for beleaguered publishers? (via The Lone Gunman)
Is Social Publishing the Future?
Tuesday New Release Day: Bennett; Dermansky; Jarrar; Witt; Weiner; Oliver; Atwood
Out this week: The Mothers by Brit Bennett; The Red Car by Marcy Dermansky; Him, Me, Muhammad Ali by Randa Jarrar; Future Sex by Emily Witt; Hungry Heart by Jennifer Weiner; Upstream by Mary Oliver; and Hag-Seed by Margaret Atwood. For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
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Speaking like Shakespeare
“What did Shakespeare’s English sound like to Shakespeare?” A father and son team are working to answer this question, recover Shakespeare’s original pronunciation and perform his plays in the new-old style, and lest this sound like a silly exercise in scholarship consider that “two-thirds of Shakespeare’s sonnets…. have rhymes that only work in [Old Pronunciation].”
In A New York Epoch
Maria Popova investigates Teresa Carpenter’s new anthology, New York Diaries: 1609 to 2009, and includes some wonderful excerpts and photographs.
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The Spy Who Wrote a Memoir
The Guardian has a beautiful multimedia feature in celebration of John le Carré‘s new memoir, The Pigeon Tunnel, including an exclusive excerpt, original notes from the author’s archives, and readings of his novels by Rachel Weisz, Tom Hiddleston, Damien Lewis et al. Read also: our own Emily St. John Mandel on using le Carré for literary cover.
True Tragedy
“The way this propaganda works is you take something insane and wrap it in a little bit of truth, and then all those people swallow it because it’s wrapped in a little bit of truth.” Columbia Journalism Review talks to the victims of fake news, from Sandy Hook parents to election overseers. Also worth thinking about in this context, the American usage of modern English.
Chelsea Girl
Eileen Myles is the weird poet that the mainstream is finally starting to accept. Here’s an essay from Stephanie LaCava at The Millions on how social media helped to push Myles’s historically ignored avant-garde world into the mainstream.
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Tuesday New Release Day: Smiley; Pittard; Donohue; Cook; Gavron; Roth; MacFarlane; Barthelme; Rankine; Robinson
Out this week: Some Luck by Jane Smiley; Reunion by Hannah Pittard; The Boy Who Drew Monsters by Keith Donohue; Man V. Nature by Diane Cook; The Hilltop by Assaf Gavron; The Hundred Days by Joseph Roth; The Figures of Beauty by David MacFarlane; There Must Be Some Mistake by Frederick Barthelme; Citizen by Claudia Rankine; and Lila by Marilynne Robinson. For more on these and other new titles, go read our Great Second-half 2014 Book Preview.
Nash appeared on a panel titled “The Future of the Book” at the Decatur Book Festival over Labor Day weekend, 2009. The other two panelists were former Atlanta Journal-Constitution book section editor Teresa Weaver and University of Georgia Press sales and marketing director John McLeod. He was the only one to discuss new options for internet book marketing, and received the most questions from the audience. Will enough people pay to make social writing clubs viable? What will he charge and how many subscribers will it take to make it worthwhile? Will his business model then be adopted by other now-free sites (folks like Max)? Could Nash be the internet equivalent of the guy who invented barbed wire (and tamed the wild west)? At the time he was still wooing investors (he told the audience). (Photos of panel here: http://tiny.cc/H3c4S or search http://www.flickr.com/groups/dbf09/).