Over at Litreactor, Joshua Chaplinsky checks in with Two Dollar Radio, the publishing outfit responsible for Grace Krilanovich’s The Orange Eats Creeps, which was one of my Year In Reading selections last year.
The story of the rise and fall of New York Mets mascot Mrs. Met is like a kind of Christ narrative. Here’s something of an elegy for the original Mrs. Met from Sadie Stein over at The Paris Review. Here are a couple of other Millions pieces on America’s favorite pastime.
One of the most exciting new books of 2013 hits shelves today: Tenth of December by George Saunders. Also out are Will Self’s Booker shortlisted Umbrella, Rage Is Back by Adam Mansbach, Ways of Going Home by Alejandro Zambra, Scenes from Early Life by Philip Hensher, The River Swimmer: Novellas by Jim Harrison, Y by Marjorie Celona, Little Wolves by Thomas Maltman Love is a Canoe by Ben Schrank, Driver’s Education by Grant Ginder, and new from NYRB Classics is Testing the Current by William McPherson, with an introduction by D.T. Max. New in paperback are Gods Without Men by Hari Kunzru and The Lifeboat by Charlotte Rogan. There are many more new books to explore, of course, in our huge 2013 books preview, published this week.
20 Under 40 alum and A Better Angel author Chris Adrian teamed up with Eli Horowitz to publish a digital novel with Atavist Books. The novel, titled The New World, employs new storytelling techniques made possible by Atavist software. It’s worth remembering here that the first book Atavist published was written by fellow 20-Under-40er Karen Russell.
What makes a sentence sad? At The Missouri Review blog, Aaron Gilbreath explores just why certain sentences are depressing — from A.A. Milne’s The House at Pooh Corner to James Joyce’s “Eveline.” “Their emotional impact doesn’t stem solely from the combination of words. The impact often results from the circumstances of readers’ lives.” Pair with: Sam Martone’s metafictional short story about his grandmothers’ deaths, “A Second Attempt,” at Pithead Chapel.
“Up until very recently, I’d recount my online experiences with some degree of shame or sheepishness, but in this apocalyptic year of 2012, that embarrassment is beginning to fall by the wayside. I’ve been having more and more conversations with people grappling with what is gained and lost by how some of our most meaningful musical discoveries– not to mention life experiences– have happened in front of, or facilitated by, screens.” Over at Pitchfork, a new column dedicated to the intersections between digital and ordinary life – and the art these interactions can produce.