Former Pulitzer Prize juror Laura Miller gives a little insight into how the award works, and posits some possible reasons that the fiction award may have been withheld.
No award given
Didion: Cool and Manly?
The Atlantic reviews the first full-length biography of Joan Didion, The Last Love Song by Tracy Daugherty, to be released August 25th. The biography “looks at the author’s legacy of cool.” Related: Franklin Strong’s essay on “The Manliness of Joan Didion” in The Millions.
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Shades of Censorship
“I was absolutely horrified. Wouldn’t have known if not for a Russian reader who read both editions. Publisher in total breach of contract.” The Guardian reports that author VE Schwab was “devastated” to learn scenes from her fantasy series Shades of Magic have been excised from Russian translations for featuring queer characters. See also: a consideration of the commercial viability of LGBTQ lit.
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Tales from Swankville
When Pleasanton mom Siah Fried and her co-author wrote Tales from Swankville, a book about hyper-competitive parenting in suburbia, they didn’t expect their neighbors to take it so personally.
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On “America’s most misunderstood religion”
Recommended Reading: Walter Kirn’s “Confessions of an Ex-Mormon,” which has my vote for the best long form article on American religions since Lawrence Wright’s profile of Paul Haggis and the Church of Scientology.
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2017 John Leonard Prize Finalists Announced
The finalists for the John Leonard Prize — for a first book in any genre — were announced by the National Book Critics Circle. This year’s finalists are Lesley Nneka Arimah‘s What It Means When a Man Falls from the Sky, Julie Buntin‘s Marlena, Zinzi Clemmons’ What We Lose, Layli Long Soldier’s Whereas, Carmen Maria Machado‘s Her Body and Other Parties, and Gabriel Tallent‘s My Absolute Darling. The winner will be announced in January. Pair with: Buntin’s 2017 Year in Reading entry.
Translating Anna Karenina
“How earnest, ironic, condescending, moralistic and simply funny a Tolstoy should the translator inhabit? Perhaps the only way to render Tolstoy’s variable voice is to continue producing ever-varying translations.” Masha Gessen looks at the latest English translations of Anna Karenina and breaks down their nuances of word choice and accumulated meaning for The New York Times Book Review, and along the way she questions the novel’s most famous line: just how alike are happy families? How can we know?
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