Catch it while you can: Charlie Rose‘s hour-long interview with Pedro Almodóvar and his muse, Penélope Cruz, touches on character, confidence, and control, and is currently available online. Almodóvar’s latest film, Broken Embraces, which I saw last summer in Madrid sans subtitles, was so visually stunning and well-acted that despite my meager translation the film enthralled. With a proper translation, it should be ravishing.
“When you read these books—I suggest perusing them, martini in hand, while your children (or better your friends’ children, for whom you are babysitting) run around shrieking—you’ll see every parenting stance you’ve ever adopted, every parent-story trope you’ve ever told or heard, expressed more perfectly than you ever could have.” Dan Kois on Shirley Jackson’s two memoirs on parenting.
Book publishers will tell you how many titles they are publishing this fall. Apple at least reveals how many iPads it sells. But Amazon is taking a different tack, shrouding much of the plans for its publishing venture in secrecy.
Implicit in a lot of the discussions about how negative a book reviewer can be is a question of utility: is a book review an act of public service or a work of art in itself? In the Times, James Parker and Anna Holmes debate the purpose of the review. Sample quote: “I’d argue that a majority of the reading public doesn’t necessarily benefit from the sorts of reviews for which artistry is the point.” You could also read our own Matt Seidel’s hypothetical worst review ever.
We hear a lot about the books writers read while drafting their own novels and stories. But we don’t hear as much about the music, TV shows and other forms of art that kept them going throughout the process. At Page-Turner, Amy Bloom catalogues the influences on her latest novel.