Peter Jackson, beloved director of The Lord of the Rings movies, has turned his talents to an adaption of a very different book. He has directed a film version of Alice Sebold‘s The Lovely Bones (see the trailer here), the story of a young girl who is murdered and looks down on her family and killer from heaven. Saoirse Ronan will play Susie Salmon, the novel’s heroine. Ronan is perhaps making a career of cinematic adaptions of novels–she was nominated for an Oscar for her performance as Briony Tallis in last year’s film version of Ian McEwan‘s Atonement. Susan Sarandon, Rachel Weisz, and Stanley Tucci also star.
Apropos of our popular “Open Letter to Kanye West,” may we recommend the “Shouts & Murmurs in this week’s New Yorker? “I have more than a million [Facebook] fans,” writes a certain unnamed narrator. “Do you know how many fans Books have? Twenty-five thousand seven hundred and sixty-four.”
Check it out: Creative Nonfiction and Writing Away the Stigma are teaming up to put on a six-part writing workshop and fellowship for individuals who have been affected by mental illness. Twelve writers will have the opportunity to study, free of charge, with the founder and editor of Creative Nonfiction magazine, Lee Gutkind. Submissions are accepted throughout the month of November.
Nicole Chung interviews Amy Tan about her new memoir Where the Past Begins: A Writer’s Memoir, one of the highlights is when Tan ponders being one of the ‘first’ authors that people name/read when they think of Asian-American literature. “But when [“The Joy Luck Club”] came out, it did feel like there were many expectations from all areas — not just in the Asian American community, but in Asian culture itself, and in any ethnic studies community. There were people who said ‘At last!’ and there were people who said ‘How dare she?’ […] I wanted to say: I’m not writing sociology, it just so happens this is what happened in my own family.”
“For Germany, the Wagners are what the Atreidai are in Greek mythology. One of them, Atreus, committed a grave sin, casting a curse over all subsequent generations, beginning with Agamemnon and Menelaus, followed by Iphigenia, Orestes and Electra. The family is marked by enmity, as is the Wagner family.” On a certain influential composer.
“The Goldfinch is a grand nineteenth-century novel in that it is an 800-page chronicle of capitalism, a paean to the ways in which the world turns on the questions of who can or can’t pay for what, and how these abilities and inabilities mold us over time. Like the life events and relationships it depicts, it purports to be about love but is actually about money. This portrayal of twentieth century North American society is accurate, but also, just as in life, both exhausting and demoralizing.” On Donna Tartt’s latest novel. (You could also read Adam Dalva’s take on the book.)
Two hotly anticipated collections of stories are out this week: Nathan Englander’s What We Talk About When We Talk About Anne Frank and Dan Chaon’s Stay Awake. Also new this week are Katherine Boo’s Behind the Beautiful Forevers, Ramona Ausubel’s No One is Here Except All of Us, which she wrote about here recently, Dalkey’s new edition of The Recognitions by William Gaddis, and a new volume of William S. Burroughs’ letters.