Cee Lo Green will be dropping a memoir in 2013, and his press release reads like something that’s gone through four different spins in Google translator: “Talk about art imitating life? Enter into the super-natural, the surreal and the extra-ordinary that is [Cee Lo Green.] Do you think this is by chance? CRAZY? FORGET YOU? After reading this book, there will be no doubt that I am meant to be. CEELO GREEN A.K.A ‘everybody’s brother’ will make you a believer, not only in me, but also…yourself.”
Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the "Elmore Leonard paradox" in The Atlantic. "Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir." Pair with: Our own Bill Morris's essay on why Leonard was such a good writer.
The Guardian interviews Year in Reading alumna Ottessa Moshfegh about her writing life, noir fiction, and her novel Eileen. As she puts it, “I’m interested in taking establishment genre and turning it on its head. I didn’t really set out to write a noir novel and I don’t know if I exactly have.”
This week in book-related infographics, round 2: Lapham's Quarterly takes a look at the day jobs of famous authors, among them T.S. Eliot, who was responsible for processing reports on German debt, and Charlotte Bronte, who had laundry fees deducted from her pay. Pair with our own Emily St. John Mandel's essay on "Working the Double Shift" and "all the strangely varied occupations that a person accumulates when the primary objective is not to establish a career, per se, but just to pay the rent while they’re working on a novel."