The Orient Express began service on this day in 1883—Paris to Istanbul in 83.5 hours. Agatha Christie may be the most famous writer to have capitalized on the train’s romantic allure, but the list of books begins decades before her (Dracula, for example) and goes for decades after.
Out this week: Delicious Foods by James Hannaham; The Last Flight of Poxl West by Daniel Torday; Hausfrau by Jill Alexander Essbaum; The Other Joseph by Skip Horack; The Poser by Jacob Rubin; The Empire of the Senses by Alexis Landau; and The Dynamite Room by Jason Hewitt. For more on these and other new titles, check out our Great 2015 Book Preview.
“Think the kennel partner was a man? Think he was, in Braverman’s telling, threatened by her success? You are correct. There are so many stories like this, in Double Bind, of ambition built up and then put in its place: the high school classmate who sneered to Roxane Gay, when he learned that she’d been accepted to Yale when he had not, ‘affirmative action.'”
Colson Whitehead has some advice: write the book that “scares you shitless.” In a recent, wide-ranging interview with John Freeman, the Underground Railroad author talks about why he wrote his latest novel, along with his methods for sussing out good ideas. You could also read our review of The Underground Railroad.
This weekend is the last chance to visit the International Antiquarian Book Fair in Boston. Included are a collection of Bonnie and Clyde photos and an illustrated letter from Alexander Graham Bell to his parents describing problems with his phone invention.
This week in book-related internet graphics: Penguin has created an interactive map of literary genres, complete with some very creatively shaped “countries”. As Electric Literature points out, “the fact that the map is aimed at current self-publishing authors explains why YA is it’s own continent while genres like Gothic fiction don’t exist.”
“There is always something lost, or exchanged, when the imagined world evoked by the written word, unique for every reader, is replaced by a provided set of visual references. In this particular case, the artist is faced with translating the unbelievable, even the metaphysical, into visual imagery, and within a relatively constrained form.” Jenna Brager on Hope Larson’s graphic novel adaptation of A Wrinkle in Time.