The results of this year’s Goodreads Choice Awards are in, and a debut novelist took home Favorite Book of 2011 honors. Veronica Roth, author of Divergent, thanks her fans in this video. Other notable winners include Haruki Murakami’s 1Q84 and Tina Fey’s Bossypants, which won the Best Fiction and Best Humor categories, respectively. (They were also reviewed on The Millions here and here, respectively.)
“I’m drawn to books that deal in fragments and digressions, authors that patch together something larger from these pieces while also letting them stand on their own.” Sam Stephenson writes about “reimagining what a biography can look like” and reading Tennessee Williams: Notebooks, edited by Margaret Bradham Thornton, in a piece for The Paris Review. He also mentions Tennessee Williams: Mad Pilgrimage of the Flesh, which Tyler Gillespie recently reviewed for The Millions.
Amazon just announced a new program entitled Kindle MatchBook, “giv[ing] customers the option to buy—for $2.99, $1.99, $0.99, or free—the Kindle edition of print books they have purchased new from Amazon.” MatchBook will include purchases made as far back as 1995, so you are officially out of excuses when it comes to cracking that lofty, intimidating TBR pile in your house.
“I HAVE A FLOWER. OHO. SUDDENLY WE’RE NOT SO SKEPTICAL, ARE WE?” I know it’s 2016 and he’s been dead for almost two hundred years now, but these otherwise inexplicable texts from Samuel Coleridge (by way of Mallory Ortberg at The Toast) are hilarious and totally believable. Some earlier hits include texts from Charles Bukowski and Cormac McCarthy.
Even though William Faulkner once described Hollywood as the “plastic asshole of the world,” he spent two decades writing screenplays there. At Garden & Gun, John Meroney examines Faulkner’s film career, including writing for Howard Hawks and having an affair with his secretary. Pair with: Our essay on Cormac McCarthy’s attempt at screenwriting.
“All over the country research libraries are canceling subscriptions to academic journals,” notes Robert Darnton, “because they are caught between decreasing budgets and increasing costs. The logic of the bottom line is inescapable, but there is a higher logic that deserves consideration—namely, that the public should have access to knowledge produced with public funds.”
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.