Isotropic Films has begun filming a “fresh, modern horror [film] version” of Franz Kafka’s The Metamorphosis. At The New York Review of Books, Mark Harman offers a new translation of the late author’s “A Message From the Emperor,” which Harman calls “hauntingly oblique.” Further away still, Elif Batuman recognizes some Kafkaesque street signage in Turkey.
Three Kafkas Begin the Day
The Art of the Sentence
“If the history of the American sentence were a John Ford movie, its second act would conclude with the young Ernest [Hemingway] walking into a saloon, finding an etiolated Henry James slumped at the bar in a haze of indecision, and shooting him dead.” Adam Haslett takes on Stanley Fish, Strunk & White, and the art of writing a sentence.
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Burroughs’s curse, Capote’s burden
“Enjoy your dirty money. You will never have anything else.” And other things William Burroughs’s wrote to Truman Capote. There’s a bit more backstory over at RealityStudio, though the letter stands on its fearsome and indignant own.
Author Late Night
Where did the authors on late night TV go? They’re all on Craig Ferguson’s The Late Late Show. At Esquire, Sean Manning pays tribute to Ferguson’s literary tastes by talking to some of the authors who appeared on his show, including Neil Gaiman, Salman Rushdie, Sloane Crosley, and more.
On Internet Fiction
Jacob Silverman reviews two new novels – Note to Self and The More You Ignore Me – that “take on one incarnation of the Internet: the Internet as pathology” but ultimately fail to succeed “in exploring or critiquing digital life with any authority.” He notes that “like any technology, [the Internet] has to be shaped for the purposes of literature.”
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Survival of the Sleek in Publishing
In today’s NY Times, former Simon & Schuster executive Joni Evans ruminates on the Darwinian transformation of publishing, from tactile and sensory (paper and fountain-pen stains and typewriter bells) to e-everything (bidding wars and clean desks); she herself picked flight over fight.
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Flaws of Hitch
The recent passing of Christopher Hitchens has led to numerous praiseful eulogies. Many have been (and he would’ve hated this…) hagiographic. Now, in an article for The Nation, Katha Pollitt seeks to “complicate the picture … at the risk of seeming churlish” to allege that the man “had virtually no interest in women’s writing or women’s lives or perspectives.”