Listen to National Book Award winner Colum McCann read from Let The Great World Spin and discuss his prize-winning novel with Wellesley’s “reggae novelist” Colin Channer.
Colum McCann Reads
Hemingway in Love
One of Hemingway’s friends reveals in a new memoir how the writer’s secret lover changed his life and work. Pair with Stephanie Bernhard's Millions essay about cooking with Hemingway.
Monday Links
The New Yorker lovefest continues: Emdashes is compiling a list of the New Yorker articles that have appeared in Houghton Mifflin's annual Best American Essays series. It's a perfect guide for dipping into your Complete New Yorker set. Update: Emdashes has also done a "short stories" version of the list.My cousin Mitch produces a survey of state quarters. Arkansas: thumbs down. Connecticut: thumbs up!The Regret the Error blog (which tracks all sorts of funny newspaper corrections) has produced a book with a serious sounding subtitle.I would love to get my hands on Transit Maps of the World, an encyclopedic book that's already been noted by Boing Boing and kottke.
●
●
Noted News Items
Paul Auster is still getting mileage out of a short story that appeared in the New York Times on Christmas day 1990. "Auggie Wren's Christmas Story" was subsequently released as a limited edition book illustrated by Brian Cronin. The story became the inspiration for the films Smoke and Blue in the Face. Now, Henry Holt is releasing another edition of the story. This time the book is illustrated by an Argentinean artist named, cryptically, ISOL. Here's the story if you want to read it.The London Review of Books is celebrating its 25th anniversary, and to mark the occasion, the Guardian sits down with LRB editor, Mary-Kay Wilmers.The CS Monitor continues to provide its capsule reviews of the National Book Award nominees. Here are the reviews for the young adult category.
●
●
Make It New
"After ten years of painting, that is to say ten years of using an abstract, invented language, writing stories was the closest I had come to working in the realm of 'realism.' It was the most direct I had ever been in my art. Perhaps the most direct I had ever been. But, as I learned from the comments of my peers in workshop ('this isn’t a story,' 'this is poetry,' 'what is this'), my writing was something other than what we referred to as literary realism. By which I mean, the writing many have come to believe most accurately represents life." Susan Steinberg asks what happened to American experimental writing.