The folks at BookRide, the blog of London’s beloved antiquarian bookstore Any Amount Books, have published a handy set of guidelines for curmudgeonly booksellers. When Kyo Maclear visited The Monkey’s Paw in Toronto, it would seem that they had yet to stumble upon this code of curmudgeonly conduct.
For the last couple days #badwritingtips, a collection of hilarious writing tips to take your novel from typical to terrible, have been trending on twitter. The Guardian rounded up a few of their favorites. Perhaps this advice will help out the unlucky souls retweeted on working on my novel.
A surreal theater production of Haruki Murakami’s Kafka on the Shore, directed by Yukio Ninagawa, premiered at the Lincoln Center Festival in July. Ian Buruma writes for the NYRB about the marriage of tradition and modernity, and Western and Eastern references in the play. As he puts it, “even without traditional references, the production—perhaps more than Murakami’s novel—is still unmistakably Japanese: stylized, poetic, comical, violent, full of spectacular effects, and often exquisitely beautiful to look at. The setting jumps at lightning speed from a bus station, to a library, to a sleazy bar area. Various characters emerge and disappear, like memories or scenes from a dream, in an assortment of moving transparent boxes.”
This morning, the longlist for the 2015 IMPAC Dublin award came out, and the nominees include some familiar names. Year in Reading alum Chimamanda Ngozi Adichie’s Americanah is on there, as is Neil Gaiman’s The Ocean at the End of the Lane (reviewed here by our own Tess Malone), Donna Tartt’s The Goldfinch (which won this year’s Pulitzer) and The Flamethrowers by Rachel Kushner (whom you can learn more about in this essay by our own Bill Morris).