Are you a Mildred Pierce fan? James M. Cain’s recently discovered manuscript will be released next year by Hard Case Crime.
Another “Mildred Pierce”
A Profile of the Profilist
Whether you’re a fan of the Boss or not, David Remnick’s recent 17-page look at the life of Bruce Springsteen is a delight to read and a masterful example of the profile piece. Remnik joins Storyboard to talk about the art of the profile.
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How Many Palins Does It Take To Break Even?
Will HarperCollins sell 400,000 copies of Going Rogue? (My guess: you betcha.)
Once more about Martin Amis, dear friends, once more
Did you dig Mark O’Connell’s review of Martin Amis’s Lionel Asbo so much that you yearn for more? Well, here’s the author’s interview with Capital, and here’s Parul Sehgal’s take on how the book’s “taut mousetrap ready to go off” sadly “never snaps.”
Glitterati
Ever got the feeling that literary life used to be a lot more glamorous? Well, thanks to this review, we now have some proof that it was. In The Times Literary Supplement, a review of Antonia Fraser’s new memoir, which includes her memories of meeting the Queen and dancing with T.S. Eliot. (h/t Arts and Letters Daily)
Nothing if Not Consistent
Fans of Moby-Dick should read Nathaniel Philbrick’s outstanding historical account In the Heart of the Sea. The book, which tracks the fate of The Essex, a New England whaling vessel sunk by a humongous sperm whale in the South Pacific, is vivid and harrowing. It’s also, as it turns out, only one of the naval catastrophes to befall George Pollard, Jr., The Essex‘s captain: a second wreck of his was recently located off the coast of Hawaii.
Alexander Chee on a Life in Restaurants
Alexander Chee remembers his time as a waiter in New York City, particularly when he (almost) met his favorite childhood author.
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The Wright Kind of Mess
In her review of Joe Wright’s cinematic adaptation for Leo Tolstoy’s Anna Karenina, Amanda Shubert writes, “Anna Karenina (2012) is, in fact, a mess. But it’s the kind of mess probably only Wright could make.” She goes on to look at how Wright has adapted work by Jane Austen and Ian McEwan, and how he has continued to face the problem of representing literary style (and form) on the screen.
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