“The [book] review’s pre-eminence is irrefutable: most people are acquainted with far, far more books through reviews than they could ever hope to read. And that is, generally, to the good.” Joseph Mackin explores why we write and read book reviews for the New York Journal of Books.
What We Talk About When We Talk About Books
Meta-Dialogue
The terrific Gary Amdahl (Visigoth, I Am Death), talks shop with A Public Space.
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E-Romance Me
There are millions of pieces out there about how dating is the worst. This one from Alexandra Schwartz at The New Yorker which questions whether dating in the 21st century is even worth the effort is, if nothing else, worth the effort it takes to read.
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Good Gugge-mugga!
Congratulations to the new group of Guggenheim Fellows in fiction and nonfiction, which, in addition to such luminaries as Kiran Desai and Colson Whitehead, includes past Millions contributors J.C. Hallman, Terese Svoboda, and Ben Marcus.
Confessing / Confiding
“I wanted to offer my students an alternative to the purely confessional mode. I wanted them to write about themselves without falling into a paralyzingly portentous tone. I wanted more humor in their work, more complexity, more detail, more balance—more good writing. I wanted fewer italicized passages, less use of the breathless present tense. I wanted no more tears in the workshop, no more embarrassing scenes.” Emily Fox Gordon writes about trauma narratives in the classroom, the trouble with writing as therapy, and the key differences between confessing and confiding in an essay for The American Scholar.
A Weary, Frumpy Civil Servant
J.K. Rowling’s new play will not, as everyone had imagined, be a prequel to the Harry Potter series. Instead, it will be a sequel, with the main action taking place 19 years after Harry Potter and the Deathly Hallows and focusing on Harry’s youngest son, Albus Severus. Here’s a self described “jaded, contrarian” take on Rowling and the series as a whole from The Millions.
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Lolita, in the Margins
When Vladimir Nabokov developed a screen adaptation for Lolita, his director Stanley Kubrick declared it the “best ever written in Hollywood”–meaning, it seems, most gorgeously novelistic, evocative, readable. Here’s a short excerpt of his screenplay with original margin notes.
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Remembering Gregory Rabassa
Gregory Rabassa, literary translator and professor at Queens College, died this past week. Rabassa helped introduce Gabriel García Márquez’s One Hundred Years of Solitude and Julio Cortázar’s Hopscotch, among others, to English-language readers. He was 94 years old.
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