The Justice Department is suing Apple and five major US publishers for colluding to inflate e-book prices. Following the DOJ’s lead, 16 states have filed similar lawsuits.
DOJ, Sixteen US States Sue Over E-Book Pricing
Believe Me
There’s a certain narrative voice with an unspoken aim to exonerate the speaker from wrongdoing. It occurs in novels, though it’s most common in monologues, especially those which take up the entirety of a play. At Bookforum, Lurid and Cute author Adam Thirlwell lists a number of examples, including Hunger by Knut Hamsun and Wars I Have Seen by Gertrude Stein.
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You Can’t Take His Word for It
“The suit is the most recent legal move in a years-long dispute between Burton and the broadcaster that originated the series.” New York Magazine's Vulture blog reports that LeVar Burton is being sued by WNED-TV in Buffalo, NY over the continued use of his famous Reading Rainbow tagline, “but you don't have to take my word for it.”
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Hatchet Job Prize
Turns out Americans aren't the only ones who adore snark. The novelist and critic Adam Mars-Jones has won the first Hatchet Job prize from the British website Omnivore for his blistering takedown of Michael Cunningham's latest novel, By Nightfall. Mars-Jones beat out Geoff Dyer's slam of Booker Prize winner Julian Barnes's The Sense of an Ending. "It isn't terrible," Dyer wrote, "it's just so...average."
Good Sports
Isn’t it lovely when books and sports coexist (somewhat) peacefully? In the spirit of the Major League Baseball ALCS playoff between the Toronto Blue Jays and the Kansas City Royals, the Twitter accounts of the Toronto and Kansas City public libraries took to the internet to air their grievances. Unfortunately for the folks in Toronto, Kansas City went on to win the game and advance to the World Series with the New York Mets. For more on the intersection of sports and reading, check out the Football Book Club.
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The Elmore Enigma
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.