“Italian art historians claim they have found 100 previously unknown works by Caravaggio.”
I’ve written before about Matthew Jockers‘s claim, as reported and presented by the Paris Review, that there are only about 6 plots in fiction. Now Dan Piepenbring returns to the Review to respond to critics who and attempt to answer the questions “is it really possible to assign every word a reliable emotional valence? And even if the answer is yes, can we really claim that all the plots in the history of literature take so few basic forms?”
Another bumper crop of books this week is led by J.K Rowling’s post-Potter effort, The Casual Vacancy is on shelves, as are May We Be Forgiven by A.M. Homes, Canvas by Benjamin Stein, Panorama City by Antoine Wilson, Sutton by J.R. Moehringer, Tarun J. Tejpal’s debut The Story of my Assassins. On the non-fiction side, Nate Silver’s long-awaited The Signal and the Noise is here, as is Neil Young’s memoir Waging Heavy Peace. New in paperback: John Warner’s Funny Man (the edition includes an essay by Warner that ran on The Millions) and Emma Donoghue’s blockbuster The Room.
At N+1, Marco Roth autopsies “the neuronovel” – think Motherless Brooklyn (Tourette’s), The Curious Incident of the Dog in the Night-Time (autism), Lowboy (paranoid schizophrenia), The Echo Maker (Capgras syndrome), and Atmospheric Disturbances (Capgras again?) – and finds “sign[s] of the novel’s diminishing purview.”