James Wood’s New Yorker review of Laurent Binet’s HHhH, makes note of the sections of the book that were cut by editors (and name-checks The Millions). Here they are if you want to read them and learn more about the context behind the cuts.
Wood on the Missing Bits of HHhH
Home in the Apocalypse
“My mind moves toward apocalypse fictions the way we think about a forgotten friend, or a partner that’s left us—grief becomes its own comfort.” Adnan Khan writes for Hazlitt about how apocalypse fictions mirror the immigrant experience and vice versa.
The Detroit Comeback
Writing for Popular Mechanics, our own Bill Morris “envisions the bright future of the great American city” he once called home: Detroit.
Crosswords Uncrossed
Even if you’ve already seen the outstanding documentary Wordplay, you’ll still want to check out this Atlantic article on how Will Shortz makes his New York Times crossword puzzles.
2666: The Movie?
JW McCormack has some Notes Toward [A Potential] Film Adaptation of Roberto Bolaño’s 2666 up at The American Reader. As somebody who can’t even fathom making Cormac McCarthy’s decidedly less brutal (although still unimaginably brutal in its own way) Blood Meridian into a film, let me tell you: the idea of turning 2666 into a theater-ready motion picture seems impossible. (P.S. You really should just read both of those books…)
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A Rush of Blood to the Head?
An intriguing pairing: Norman Rush tackles James Ellroy‘s Blood’s A Rover in the current New York Review of Books.
Living like Fitzgerald
“Recent research has shown that messy, dark, noisy, booze-filled environments like the one Fitzgerald cultivated at La Paix can, in fact, help stimulate creativity.” The Atlantic reports on the importance of environment for creativite work and / or gives you an excuse to live like Fitzgerald.