At The Vulture, Nitsuh Abebe explains in seven steps how to do the impossible: convincingly hate The Beatles. It’s not easy, by the looks of it.
The New Yorker has published another recently discovered Shirley Jackson short story “The Man in the Woods,” a fairy tale that takes on some classic mythology. According to her son, it’s one of many new stories found in her archives, and we can expect a new collection next year. “What was surprising to us was not that she was so prolific and had left behind so much unseen work but, rather, the quality of that work,” Laurence Jackson Hyman said.
“These are terrific diversions, but their status next to the book is a little ambiguous. Isn’t using animation to advertise a book a little like using sculpture to promote poetry?” asks Lindesay Irvine in this article about book trailers in The Guardian. If you’re looking for a diversion, this video short based on César Aira‘s Ghosts is certainly worth watching.
“Grief doesn’t only disturb life; it disturbs the way we talk about life. As myriad aspects of our existence are questioned and reexamined in the wake of a death, so too is our relationship with the language we rely on for our grief’s expression.” This track-by-track take on Sufjan Stevens’s Carrie & Lowell from The Rumpus is really just a magnificent, emotive piece on elegy.
Amy barely speaks in the trailer for Gone Girl, but she is present in almost every frame. The first look at David Fincher’s adaptation features a creepy cover of “She” and a harried Ben Affleck as he goes from bereaved husband to suspect. The film will be in theaters on October 3, but until then, read our conversation about Gillian Flynn.
Next week, the folks at Literary Death Match are bringing literature into the third dimension by staging “LDM TV: The Pilot.” Two shows consisting of four readers apiece will take place in Los Angeles, and performances will be judged by a killer lineup including such notables as Susan Orlean, Michael C. Hall, Moby and Tig Notaro. Full event details can be found here. For what it’s worth, I still rank Matt Gajewski’s LDM performance as my all-time favorite, so Beau Sia, Simon Rich, Daniel Alarcón and company have their work cut out for them.
We’ve written about the newly published Laura Ingalls Wilder memoir several times, but a new review in the LA Times calls attention to one of the most interesting questions raised by the work: how much influence did Wilder’s daughter Rose Wilder Lane, an accomplished author in her own right, have on the final Little House books?