Books turned into tables? Volumes made into shelves? Pages turned into sculpture? Library purists, remain calm. This has nothing to do with destruction, but everything to do with giving old books new life.
Old Books, New Life
Jonathan Safran Foer, Cut Up
Did you know that a new Jonathan Safran Foer book is coming out this week? We didn't until we saw a mention of it at Kottke. More surprising is the form of the book itself. Foer has created a new work called Tree of Codes by cutting out sections of one of his favorite books, The Street of Crocodiles by Bruno Shulz. The die-cut, Kindle-proof volume is the first major title by London-based Visual Editions. Vanity Fair has more.
Digital Eustace
Sparksheet interviews Blake Eskin, the New Yorker's first and only web editor, who shares the venerable magazine's unique approach to having an online presence. (via)
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Speaking with Greenwell
Recommended Reading: The Paris Review Daily interviews Garth Greenwell, author of What Belongs to You, possibly the next great gay novel.
Hugo’s Art
From the Paris Review, a small selection of Victor Hugo's four thousand drawings.
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Books Speak to Our Times
Sam Tanenhaus asks, What do this season’s political books tell us about the election? As he puts it, “Election-year analyses always seem to arrive too late or too soon. They are useful nonetheless. The mistakes and misapprehensions — what the authors thought they knew — mirror the broader thinking of their moment.” Pair with this Millions essay on politics and excessive language.
Staff Writer Sonya Chung at Tin House
At the Tin House blog, I write about my literary education in independent bookstores Also, my piece about James Salter appears in Tin House's current issue.
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Ways of Seeing
Overt at JSTOR Daily, Allana Mayer writes about visual literacy in the age of the Internet. As she explains it, “We have similar stories all throughout history: the moment when a perception—whether a literal way of seeing or a figurative mode of thinking—is assaulted and fundamentally shifts.” Pair with our own Bill Morris’s piece on the new Whitney Museum.