Did you know that a new Jonathan Safran Foer book is coming out this week? We didn’t until we saw a mention of it at Kottke. More surprising is the form of the book itself. Foer has created a new work called Tree of Codes by cutting out sections of one of his favorite books, The Street of Crocodiles by Bruno Shulz. The die-cut, Kindle-proof volume is the first major title by London-based Visual Editions. Vanity Fair has more.
Recommended Reading: a piece from the New York Review of Books blog on modern attention spans and what they mean for literature. Hint: it’s not looking too promising. Tim Parks closes with a prediction that “the novel of elegant, highly distinct prose, of conceptual delicacy and syntactical complexity, will tend to divide itself up into shorter and shorter sections, offering more frequent pauses where we can take time out. The larger popular novel, or the novel of extensive narrative architecture, will be ever more laden with repetitive formulas, and coercive, declamatory rhetoric to make it easier and easier, after breaks, to pick up, not a thread, but a sturdy cable.”
Litographs is a Massachusetts-based company that uses literature as inspiration for their designs. The text becomes the basis for the design. (Check out this example for Alice’s Adventures in Wonderland.) They’re launching a new Kickstarter campaign on Tuesday in which you can make a custom Litograph with whatever text you want. Pretty cool, right?
Barrelhouse recently revamped their website, but that’s not even the most exciting news out of the D.C.-based literary outfit this week. No, sir. The most exciting news is that the magazine’s newest online issue is “focused on the theme of 1980s professional wrestling.” The list of contributors includes Aaron Burch, Matthew Duffus, and Jeannine Mjoseth.