New this week are William Boyd’s Waiting for Sunrise and Graham Swift’s Wish You Were Here. Readers can also now get their hands on the second two volumes in the racy, headline-making Fifty Shades trilogy.
Kenyan author Ngũgĩ wa Thiong’o’s moving speech at The Sunday Times Literary Awards in which he speaks about the resilience of literature and the necessity of keeping less-popular languages alive is now available online. (Here’s our handy guide to pronouncing the author’s name, in case you were too embarrassed to ask.)
The LA Times‘ Festival of Books is happening this weekend, and attendees have not one, not two, but three chances to see Millions staffers Patrick Brown and Edan Lepucki. On Saturday, Patrick will be hanging out on the Nuts and Bolts publishing panel, and on Sunday, he’ll be moderating one entitled Art of Immersion. Also on Sunday, Edan will moderate the Visionary Eyes fiction panel with Aimee Bender, Mark Leyner, Ben Ehrenreich, and Elizabeth Crane.
“Armand’s characters all seem both hugely present and in life’s juice and simultaneously dead, as if rent of brain, nerves, chest, stomach, intestines … Without gods and devils these patients feel that only fire can save them, existing eternally unless burned away.” Australian novelist Louis Armand’s newest, Abacus, is reviewed by Richard Marshall at 3:AM Magazine.
“Wallace’s fiction contains enormous cruelty… But it is also a deeply moral body of work. Its difficulties, and many of its cruelties, exist for specific reasons. Whether Wallace’s fraught projects are successes or failures is up to the individual, but these are judgments that all serious readers should want to make for themselves.” Chris Power considers David Foster Wallace‘s short stories in an essay for The Guardian and argues that after Infinite Jest they just might be the most important work he produced.
Simon DeDeo writes for AGNI about the first line of Paradise Lost, John Milton’s first disobedience. As he explains it, “The line is a syllable too much. In Milton’s blank verse epic—iambic pentameter, five sets of two-syllable feet—the opening has eleven syllables, not ten.”