To add to the awards lists, Believer has announced its editors’ shortlist for the Believer Book Award, which looks to acknowledge “the strongest and most underappreciated” novels of the year. The shortlist includes Danielle Dutton’s Sprawl; Kira Henehan’s Orion You Came and You Took All My Marbles (reviewed for The Millions); James Hynes‘ Next, Grace Krilanovich’s The Orange Eats Creeps (reviewed for The Millions); and Paul Murray’s Skippy Dies (reviewed here).
Members of the Word Reference forum contemplate the etymology and meaning of the “A” in the expression, “Fuckin’ A.” Elsewhere Geoffrey Nunberg, linguist and author of Assholism: The First Sixty Years, shares his take on the ubiquitous “a-word,” which he believes originated during World War II.
Over at The Atlantic, Terrence Rafferty claims that women are writing the best crime novels. “Their books are light on gunplay, heavy on emotional violence. Murder is de rigueur in the genre, so people die at the hands of others—lovers, neighbors, obsessive strangers—but the body counts tend to be on the low side,” he writes. Pair with this Millions piece on novels where women are true detectives.
Recommended Listening: Ben Lerner stops by The New Yorker’s fiction podcast to discuss “Woven, Sir,” a story by John Berger.
Stony Road Press has teamed up with the James Joyce Centre to release a limited edition handmade book, “reproducing the original 1914 text” of “The Dead,” and featuring really interesting hand printed illustrations by Robert Berry. Check out some examples here, here, and here.