Congratulations to our own Lydia Kiesling whose essay “Proust’s Arabesk: The Museum of Innocence by Orhan Pamuk” has taken third place in the 3 Quarks Daily 2010 Prize in Arts & Literature as judged by Robert Pinsky.
Boss Fight Books is a new series in the mold of the classic 33 1/3 model. In lieu of covering music albums, however, each Boss Fight book “will take a critical, creative, historical, and personal look at a single classic video game.” The first titles in the series will investigate Earthbound and Galaga, and they should be out by next December and January, respectively.
We’d like to introduce you all to our new intern, Ujala Sehgal, who beat out 50+ other applicants for the position. Ujala lives in Manhattan and recently left a nascent career in corporate law to travel and focus on her writing. Her first full-length piece, about negotiating one’s limitations as a reader and writer, has been published today. Welcome Ujala!
“Three weeks before she died on July 25, 2012, Marcia (Marty) Brown Stern ’54 sent me a registered letter, which began, ‘What is enclosed may astonish you.’ Indeed it did. The envelope included a draft of ‘marcia,’ an unpublished poem that Sylvia Plath ’55 wrote about their sophomore year together at Smith College in 1951.”
To encourage first edition sales of Haruki Murakami’s latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage, his publishers are going to include “a special sheet of stickers designed by five Japanese illustrators.” If that sounds as corny to you as it does to me, then consider the fact that the book likely does not need any real marketing strategy whatsoever: when it came out in Japan, it sold over a million copies per week.
Elena Ferrante’s introduction to the Folio edition of Sense and Sensibility is available at The Guardian. She describes the experience of reading Jane Austen as a girl. “At the time, I was enthralled by the great male adventure novels, with their stories that ranged all over the world, and I wanted to write such books myself: I couldn’t resign myself to the idea that women’s novels were domestic tales of love and marriage. I was past 20 when I returned to Austen. And from that moment not only did I love everything she had written but I was passionate about her anonymity.”