John Warner is today reprising his popular book-recommending engine (i.e. his brain), that he unveiled to great effect during the Tournament of Books earlier this year.
D.T. Max, author of Every Love Story Is a Ghost Story, the recently released biography on David Foster Wallace, discusses writing his much-anticipated look at the late author’s life. Further whet your appetite for DFW’s biography with our exclusive look at the book’s opening paragraphs.
Yesterday I told you about a ridiculously rare signed copy of T.S. Eliot’s The Waste Land, a poem famously loaded with coldness and sterility and failed human intimacy. Later this month, some new letters will be published that reveal the depth of Eliot’s mental anguish over the breakdown of his first marriage with his wife, Vivien. Eliot has long been accused (maybe fairly) of treating Vivien with intolerable cruelty and attributing to her mental state, and these letters aim to complicate that narrative.
On International Women’s Day the New York Times launched Overlooked, a project that features the obituaries of remarkable women who did not receive the NYT obituary treatment when they passed away. It turns out only 20% of NYT obituaries were about women. Overlooked will seek to remedy this oversight by posting new obituaries of female icons weekly for the rest of 2018. Of particular note to our readers this week; Charlotte Bronte, Qiu Jin, Nella Larsen, Sylvia Plath and Ida B. Wells. But all 15 obituaries are worth reading, whether to learn something new or refresh your memory.
“Ms. Hazzard’s fiction is dense with meaning, subtle in implication and tense in plot, often with disaster looming: A shipwreck tears away the parents of tiny children. A man who has waited a lifetime for a woman loses her at the last moment.” Novelist Shirley Hazzard, whose several books – including The Transit of Venus and the National Book Award-winning The Great Fire – received much acclaim, has died at 85, reports The New York Times. Also worth reading, her “Art of Fiction” interview with The Paris Review from 2005.