One good way to spend your Sunday: reading a 7,834-word Atlantic profile of Kanye West. Heck, even Obama’s a fan.
But How Many Samples Does it Use?
The Real Housewives of Yoknapatawpha County
All of Faulkner’s characters exist in the same county, so they probably ran into each other. What if there were a Real Housewives of Yoknapatawpha County? Nathan Pensky humorously imagines the feuds between As I Lay Dying’s Addie Bundren and the protagonist of “A Rose for Emily” among others at McSweeney’s.
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Revolutionary Word
Lewis Lapham, namesake and founder of Lapham’s Quarterly, has compiled a “revolutionary reading list.”
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Tuesday New Release Day: Doerr; Galchen; Cunningham; Barry; Gay; D’Erasmo; Heller; Deuel
New this week: All the Light We Cannot See by Anthony Doerr; American Innovations by Rivka Galchen; The Snow Queen by Michael Cunningham; The Temporary Gentleman by Sebastian Barry; An Untamed State by Rumpus editor and Year in Reading alum Roxane Gay; Wonderland by Stacey D’Erasmo; The Painter by Peter Heller; and Friday Was the Bomb by Millions contributor Nathan Deuel.
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A Mother’s Love
One Romanian woman may have committed “a barbarian crime against humanity” by incinerating a collection of seven famous paintings – including Picasso’s “Harlequin Head,” Monet’s “Waterloo Bridge, London,” and Gauguin’s “Girl in Front of Open Window.” Her excuse? It was in order to protect her son – a skilled art thief – from prosecution.
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The Road Trip Novel in the Modern Age
History professor Allen Pietrobon discusses the need to update the canon of road-trip fiction to include women and people of color.
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Finding Peter Cat
We already knew that Haruki Murakami was a writer and runner but a former jazz club owner, too? Aaron Gilbreath visited Murakami’s 1970s jazz club, Peter Cat, and found “a drab three-story cement building. Outside, a first-floor, a restaurant had set up a sampuru display of plastic foods.” For more Murakami, read our review of 1Q84.
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Geoff Dyer on Pagetti’s Syria
The devastating images of Syria shot by Franco Pagetti have been collected into a series entitled Veiled Aleppo. Over at The New Republic, Geoff Dyer writes about one of them. It’s an image, Dyer observes, that features “symbols … of the death throes not of a city but of film.”
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