Emily Nussbaum on the poetry of cliffhangers, “which makes visible the storyteller’s connection to his audience—like a bridge made out of lightning. Primal and unashamedly manipulative, cliffhangers are the signature gambit of serial storytelling.”
“A colouring book, Colouring in the Lions, will head the list for children and feature vintage art from the NYPL archive. Also planned is a yet-to-be-titled picture book featuring Patience and Fortitude – the two lion statues that stand at the entrance to the library’s main building – and a YA novel based on the true story of a family who lived in the library.” The Guardian reports on a partnership between the New York Public Library and Macmillan publishers to produce five to eight books per year inspired by the library’s collections.
Whether or not you’re an avid collector of NYRB Classics like Stoner, you’ll enjoy this profile of series publisher Edwin Frank, conducted by Millions contributor and Oyster Editorial Director Kevin Nguyen. In the profile, Frank delves into the mindset that guides his choices, tying the rise of the American publishing series to the passage of the GI bill. Sample quote: “Someone seeing a book he or she always loved next to a book he or she had never heard about would say, ‘Wait that’s the book I always loved and it’s back in print, maybe I should buy this one too.’”
“Publishing is also an industry that selectively values a kind of swaggering authenticity that would never capitulate to demands for something so banal as being nice. But authenticity is too often a short hand for callous, aloof, or honest for the purpose of cruelty rather than truth-seeking.” Alana Massey writes about the “niceness” of publishing.
“Every single book or painting or piece of music exists and we take from it what we need and love and shape it into another narrative that goes out into the world or stays within us, so it’s this great thing of one narrative piling onto the next. It’s hard to define.” Miriam Toews talks with The Rumpus about her novel All My Puny Sorrows and the distinctions, or lack thereof, between autobiography and fiction.
“But now that my first book of poems has come out, I’ve become increasingly aware of the challenge of writing a good inscription to a reader. As soon as I’ve got the pen in my hand, I become the most unoriginal message-writer on the planet.” On a little-known gripe about book signings.