“Inherent Vice . . . is like a novelization of Grand Theft Auto, claims Nerd World. And hey, they’ve got ten points of comparison to back it up, so you know it must be true. (via)
Thomas Pynchon: The Video Game
From Page to Screen
Some of the most revered literary novels that have appeared in recent years will be adapted for television. Jonathon Sturgeon writes for Flavorwire, “What do we call this new relationship between prestige and streaming TV and the literary novel? The two now shape each other in peculiar, formal ways—like lovers who share an apartment, they’ve started speaking and looking alike.” Pair with this Millions piece on literary magazines in film and TV.
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‘The Left Hand of Darkness’ Turns 50
Fifty years after the publication of The Left Hand of Darkness, Charlie Jane Anders reflects on the "guidebook to a place I desperately wanted to visit but never knew how to reach."
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Tuesday New Release Day: Vargas Llosa, Johnson, Hustvedt, Flynn, Cul de Sac
New this week are Mario Vargas Llosa’s The Dream of the Celt, Soul of a Whore and Purvis: Two Plays in Verse by Denis Johnson, Living, Thinking, Looking: Essays by Siri Hustvedt, Gone Girl by Gillian Flynn, and Team Cul de Sac, a book done in tribute to the great comic done by Richard Thompson and to raise money for research into Parkinson’s, which Thompson was diagnosed with in 2009.
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Katie Kitamura on Embracing the Persistent Doom
Katie Kitamura discusses her latest novel, Intimacies, and how its story embraces uncertainty as a constant in our lives.
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A Daisy Chain of Laffs
Turns out David Sedaris loves The Onion (but who doesn’t, really?). Slate asked more than 30 writers including Junot Díaz, Elif Batuman, Paul Beatty, Miranda July, and Chris Kraus to recommend their favorite funny books. Might we recommend you pair this with our own Jacob Lambert‘s comedic interpretation of Cormac McCarthy?
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Mocha Dick
The (mostly) true story behind Moby-Dick gets the picture-book treatment in Mocha Dick: The Legend and the Fury.
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Class with Harry Crews
When asked about his tenure as a professor of creative writing, Harry Crews used to say, “I may be at the university, but I damn sure ain’t of the university.” But in talking to his former students, Crews’s biographer, Ted Geltner, found that in spite of the writer’s efforts to distance himself from academia, he really was a passionate, memorable teacher. (Bonus: Yours truly named one Crews work his “most representative” Florida book.)
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