Saveur Magazine has published its annual top 100 food and cooking joys of the year. This time, it’s a reader-created list, and it doesn’t disappoint, from #12, The Burmese Tea Leaf Salad to #43, College Dining Hall Cooks. (Via.)
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.
New this week: Behold the Dreamers by Imbolo Mbue; The Dollhouse by Fiona Davis; The Outside Lands by Hannah Kohler; I’m Still Here by Clelie Avit; and Blood in the Water by Heather Ann Thompson. For more on these and other new titles, go read our Great Second-Half 2016 Book Preview.
Our own Emily St. John Mandel won one of the inaugural Indie Booksellers’ Choice Awards yesterday for her novel The Singer’s Gun. The other honorees for this award, which was voted on by indie booksellers around the country, were Paolo Bacigalupi for The Windup Girl, Adam Levin for The Instructions, Karl Marlantes for Matterhorn, and Nina Revoyr for Wingshooters.
How can science fiction writers invent aliens and entire planets but not include multifaceted characters of color in their fiction? At The Atlantic, Noah Berlatsky discusses the genre’s equality problem and analyzes how race is viewed in everything from The Left Hand of Darkness to Do Androids Dream of Electric Sheep. “When that future unthinkingly reproduces current inequities, it seems like both a missed opportunity and a failure of imagination.”
“Every story I have ever told has a kind of breach to it, I think. You could say that my writing isn’t quite right. That all the beginnings have endings in them.” Lidia Yuknavitch, who recently published an essay, “There is No Map for Grief,” in the Millions, now has an essay on violence, beauty and and storytelling in Guernica.