Mourning the death of the Waldenbooks at the mall. “But in a way I’m glad, as this means that yet another supposed agent of publishing’s ever-imminent death is now biting the dust itself.”
RIP Mall Bookstores
Women and Criticism
Tonight: “Sharp: A Discussion of Women and Criticism,” a panel at the Housing Works Bookstore in New York featuring writers Kate Bolick, Laura Miller, Michelle Orange, and more. It begins at 7 p.m.; more information can be found here.
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The New Canon
Is Hanya Yanagihara’s A Little Life a Great American Gay Novel? According to Garth Greenwell, the book — which came out in March — is one of the most ambitious gay novels to come out in years. At The Atlantic, he makes a case that the book is a classic of its kind. You could also read Christopher Richards on Frank O’Hara’s lessons for gay men.
A Good Deaf Man Is Hard to Find
Sara Nović writes for The Believer about the deaf protagonist of Stephen King’s The Stand. As she explains it, “This is the plight of the average deaf character: to be plagued by the hearing author’s own discomfort with the idea of silence.” Pair with Lydia Kiesling’s Millions essay on King.
Babies Don’t Like Snakes
The Greek gods and goddesses were nothing if not self-serving. From Mallory Ortberg over at The Toast, here is an introduction to Dirtbag Hera. Don’t you worry, Dirtbag Athena got her comeuppance, too.
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Protesting Orson Scott Card
With the Ender’s Game movie approaching, critics of Orson Scott Card are drawing attention to the writer’s anti-gay rhetoric. In protest of his position, they compelled DC Comics to scrap a Card-penned Superman comic and started a movement to boycott the upcoming movie. In New York Magazine, Kyle Buchanan runs through the nitty-gritty of the controversy, which includes a recent statement from Card that the repeal of DOMA means “the gay marriage issue” is now “moot.” (You might also want to read our interview with Card from back in May.)
The litigation is never dead. It’s not even past.
Last Thursday, Faulkner Literary Rights, the company controlling William Faulkner’s works, proved two things by suing Sony Pictures Classics: 1) that they finally got around to seeing Midnight In Paris (2011); and 2) that they’re not down with Woody Allen’s decision to include two of the Nobel Prize-winning author’s lines in Owen Wilson’s dialogue.