At the Guardian Book Blog, Anthony Horowitz wonders “who’s helping who in the cover blurb game.” We of course recommend pairing his article with Alan Levinovitz’s Brief History of Blurbs from last year.
You may have read some portion of the infamous Watergate transcripts. What you probably haven’t read is quotes from the transcripts rearranged into poetry. At The Paris Review Daily, a few representative poems by Richard Nixon, including “I Can’t Recall,” “The Position” and “In the End.” You could also read our own Michael Bourne on Thomas Mallon’s book Watergate.
New this week: Amnesia by Peter Carey; Outline by Rachel Cusk; The First Bad Man by Miranda July; Binary Star by Sarah Gerard; Bonita Avenue by Peter Buwalda; The Girl on the Train by Paula Hawkins; Refund by Karen Bender; In Some Other World, Maybe by Shari Goldhagen; Harraga by Boualem Sansal; and West of Sunset by Stewart O’Nan. For more on these and other new titles, check out our Great 2015 First-Half Book Preview.
It’s been rumored for some time that The Flaming Lips were working with Aaron Sorkin to develop a musical, but yesterday in a press release, the project was given an expected release date, and Sorkin was said to be no longer involved. “Yoshimi” will tell the story of “a young Japanese artist who journeys into a robot world where she must contend with a host of evil forces.” (Or, you know, basically this song acted out.)
For The Guardian, Rafia Zakaria writes on the new wave of confessional “feminist” memoirs. As she puts it, “We’re on an uncomfortable tightrope between a bold new dialogue about women and sex, and the monetisation of that conversation by powers that recognise that as a gap in the market.” Pair with this Millions essay on feminist pop anthems.
Bret Easton Ellis and Paul Schrader are using Kickstarter to raise $100,000 for an indie movie entitled The Canyons. The film “documents five twenty-something’s quest for power, love, sex and success in 2012 Hollywood,” and, if you donate $5,000, Ellis will provide notes on your novel. According to New York, this Ellis-Schrader film is not to be confused with their other one about sharks, alluded to most recently by Ellis in his Paris Review interview (Reg. Req.).