The shortlist for the Diagram Prize for the Oddest Book Title of 2010 has been announced. Among the hopefuls: Managing a Dental Practice: The Genghis Khan Way.
The first installment in a series of bloggers reading through the shortlist of the Caine Prize for African Writing, Aaron Bady looks at Rotimi Babutunde’s Bombay Republic [pdf]. A full list of participating bloggers is available at the bottom of Bady’s post.
In case you missed it, this past weekend The New York Review of Books likely outed the author who’s been writing under the nom de plume of Elena Ferrante. Condemnation was fast and furious, including pieces by n+1 and this fantastic Twitter thread by critic Lili Loofbourow. We join the chorus of voices who would rather direct the attention back to Ferrante’s work. Might we suggest starting with this piece about The Neapolitan Quartet‘s subversive power?
“A vast human action is going on. Death watches. So if you have some happiness, conceal it. And when your heart is full, keep your mouth shut also.” Saul Bellow saw a bit of resurgence this year with the publication of his collected non-fiction, There Is Simply Too Much to Say. Why do we need him now more than ever? According to Michael Weiss at The Daily Beast, it’s because he has “a bit of the opposition in him.” This essay is exhaustive and thoroughly researched and well worth your time.
Out this week: Black Glass by Karen Joy Fowler; The Festival of Insignificance by Milan Kundera; The Book of Speculation by Erika Swyler; The Little Paris Bookshop by Nina George; The Truth and Other Lies by Sascha Arango; Tradition by Daniel Khalastchi; and Music for Wartime by Rebecca Makkai. For more on these and other new titles, check out our Great 2015 Book Preview.
Writing for Vouched Books (of which I’ve raved previously), Tyler Gobble dedicates his “Best Thing I’ve Read This Week” column to Laurie Saurborn Young’s Patriot chapbook. The work collects thirteen poems – each entitled “Patriot” – which “craft as they go a sense of living, having lived, the naming as a startling mechanism to remind just how much there is here, right here, hello.”