Any Human Heart author William Boyd has been tapped to write the newest James Bond novel, the Ian Fleming estate has announced. Just so we know what to expect: his favorite Bond installment was From Russia with Love.
Hey, Fleming Estate: I’m Available To Write One, Too
Gothic Roots
“If Gothic literature had a family tree, its twisted gnarled branches chock-full of imperiled, swooning heroines and mysterious monks, with ghosts who sit light on the branches, and Frankenstein’s monster who sits heavy, with troops of dwarves, and winking nuns, and stunted, mostly nonflammable babies, at its base would sit Horace Walpole’s The Castle of Otranto.” Carrie Frye writes for Longreads about the history and personality behind the first Gothic novel, which turns 250 this year.
Infinite Stupidity
Why innovate when you can just Google and copy? Mark Pagel on the perils of “being domesticated by these great big societal things, such as Facebook and the Internet.”
●
●
Cultural Commentator
“I think people always expect artists to have a larger understanding of the issues they write about. People have looked to writers and artists forever and asked them to be cultural commentators or political commentators, which can be very scary because I can only speak to my own perspective, and I’m figuring this out along with everybody else. I’m not even sure I’m the best person to talk about it, whatever it is, but I’m someone who can and does.” Electric Literature talks with Sarah Gerard about her debut novel Binary Star, which we reviewed here.
●
●
Prejudice and the Grotesque
Dave Griffith writes for The Paris Review about reading Flannery O’Connor’s “The Displaced Person,” an immigrant story set in the South, in the age of Islamophobia. Pair with Nick Ripatrazone’s Millions essay on teaching and learning from O’Connor.
Chekhov’s Funeral
Did you know that on this very day in 1904, Chekhov was interred? If that comes as news to you, read about the last few months of his life at the always enlightening Today in Literature.
●
●
Going Against the Current
Emily Harnett writes about Elena Ferrante’s bad book covers and how it embraces “women’s fiction” as a genre. As she puts it, “In a literary marketplace where the very image of a woman is seen as antithetical to literature, Ferrante’s covers take an important stand.” Pair with Cora Currier’s essay on reading Italy through Ferrante’s books.
●
●