The latest project from King’s Speech director Tom Hopper will be a big-screen version of Les Misérables, starring Hugh Jackman as Jean Valjean and Russell Crowe as Javert. You can check out the trailer over here.
“In the aftermath of tragedies, people become obsessive, do strange things. As the tragedy recedes and is sewn up into the past, these strange things appear increasingly weird to casual observers.” At The Rumpus, our own Lydia Kiesling reviews Donna Tartt’s new novel The Goldfinch, which centers around a fictional bombing of the Metropolitan Museum of Art.
“'When I finish reading one of her stories, I always feel understood and somehow forgiven for being human,' Mr. George said. 'It may simply come down to wisdom. Like the greats, Edith has it.'" Steve Almond gives an overview of Edith Pearlman's writing and publication history for The New York Times Book Review in the wake of the release of her latest collection, Honeydew, which Josh Cook recently reviewed for The Millions.
What's it like to win the Literary Review's Bad Sex award? As 2010 "winner" Rowan Somerville reports, "It's a hard pill to swallow ... Despite the magazine's assertion that 'it's only a bit of fun' there's an atmosphere of bullying peculiar to public schools about the whole thing."
"The blackly comic energy of Nathanael West’s Miss Lonelyhearts—its caustic ebullience, the strange buoyancy of its suffering—is a remarkably American achievement, a kind of death-dance capered on the corpse of a vividly rendered early 1930s Manhattan." On Miss Lonelyhearts, the darkest American masterpiece.
Over at Threepenny Review, Jess Row expounds on "blandness" in the work of Haruki Murakami, and particularly in his 2.8 lb. tome 1Q84—a book tabbed by Charles Baxter in last year’s Year in Reading as the best he’d read all year. Row contemplates the way Murakami’s characters and sentences “almost never lose this placid, observant neutrality,” or “continuous monotone.”