Today is Herman Melville‘s birthday. This October, Tin House will be releasing Matt Kish‘s Moby-Dick In Pictures. Kish began illustrating Melville’s masterpiece in 2009 by “creating images based on text selected from every page of the 552-page Signet Classics paperback edition.” You can preview some of the work on the book’s designated Twitter account.
“Although comfortable with solitude, he admits: ‘I couldn't write all the time. As a writer, you have to come out into the world. I don't have a Salinger or a Pynchon impulse. There are so many things to do that are interesting.’” Talking with Ian McEwan.
Electric Literature just launched a new experiment with Israeli writer Alex Epstein. Epstein published his latest collection of "micro-fiction" for free on Facebook, and he wrote about the experiment on the Electric Literature blog. For the next week, Electric Literature will be publishing a sample of translations from his collection on their Facebook page.
The New York Times looks at new technological efforts to make book signings work in the age of the ebook. One idea is an e-reader add-on that lets the reader snap a photo with the author, which the author can then sign with a "digital stylus." The photo is meant to make its way to Twitter and Facebook, of course. "Bragging potential? Endless," says the Times. Authors: get ready to say "cheese"?
"James Schiff, an associate professor of English at the University of Cincinnati, is working on a volume of Updike’s letters and has unearthed thousands of letters, postcards, and notes the author sent to complete strangers who wrote to him." The Guardian writes about an in-progress book of John Updike's letters that reveals how often the writer corresponded with not only his contemporaries, like John Barth and Joyce Carol Oates, but his readers as well. See also: an essay about the personal and literary relationship between Barth and Updike.
When did Twitter turn into a place of public shame, outrage, and apology? Alexander Chee examines the changing culture in an essay for Dame Magazine. "Oh, Internet, place of the ultimate writerly paradox, where things you write quickly for little or no money last forever." Our own Mark O'Connell explored something similar in his New Yorker essay on the public humiliation of regrettable tweets.