In this week’s New Yorker, James Wood critiques Paul Auster, while his sometime-subject Don DeLillo offers refreshingly offbeat short fiction.
Goodies from The New Yorker
Debut Novel from n+1 Co-Editor Brings in Big Bucks
Those who watch the book deal emails from Publishers Lunch know that Chad Harbach, an editor at n+1, recently sold his first novel, The Art of Fielding, but a Bloomberg article today reveals it went for an eye-popping $650,000. The book centers around baseball at a fictional Wisconsin college, and Bloomberg pegs the deal as "one of the highest prices for a man’s first novel on a topic appealing to a male audience." Possible buried lede: n+1 compatriots Benjamin Kunkel and Keith Gessen saw their first novels sell 48,000 and 7,000 copies respectively, according to Neilsen BookScan.
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Retreat with Eliot
Looking for a New England writer's retreat? Perhaps you could stay in T. S. Eliot's childhood summer home.
Doodling Lit
We all doodle, but Meg Wolitzer gets inspired by it. When she was writing The Interestings, she frequently drew her way into her characters. "I sometimes drew crude, Harvey- and Archie-inspired images of my characters, in keeping with the spirit of Ethan Figman and Figland," she wrote in The New Yorker.
Baby Belle
Precocious hardly begins to describe the early work of now-famous child fashion blogger Tavi Gevinson. If you're like me--a clueless/skeptical johnny-come-lately--check out this post, in which Tavi documents and explains the Blanche DuBois outfit she's worn to school and her take on Tennessee Williams' most famous heroine.
Kindle’s “Public Notes”
Amazon's "Public Notes" feature kindle.amazon.com isn't as new as some are saying, but it might be creepier than you think. In other Kindle news, GalleyCat's put together a "how-to" guide to copy and pasting text selections from one device to another.
Everything That Rises Must Be Filmed
Recommended Listening: this episode of the Ryder + Flye podcast in which Jason Diamond and Margaret Eby discuss Southern Catholicism, 70s cinema, and why it's so darn hard to make Flannery O'Connor's stories work on the screen.
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