Two Ways of Looking at Kapow!
The Counted
“Soon, the nail-biting hours of vote-counting start. For a Turkish citizen who does not support the AKP, casting your vote is the easy part of the process. The trickier task comes after that vote is stamped (to ensure it is real and valid): trying to make sure it is actually counted.” On a new book about Erdoğan’s Turkey.
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Poison in the Plot
Agatha Christie could actually kill you. She studied pharmacology and learned how to create poisons, which led to her use of poisons in her novels. You could also read Daniel Friedman’s essay on solving the mystery of how to close a crime novel.
Rough Trade
Considering his first novel was a chronicle of gang life in the Bronx, it makes sense that the new book by Richard Price is a tale of the NYPD. In the latest issue of The New Yorker, Joyce Carol Oates reads the novel, remarking that it “retains a residue of Price’s absorption with his rough urban settings and with the phenomenon of a particular sort of masculinity.” Related: our own Garth Risk Hallberg on Price and his crime fiction contemporaries.
First Novel Prize Longlist
The Center for Fiction has released the longlist for the First Novel Prize. The Girls by Emma Cline (see our review) and What Belongs to You by Garth Greenwell (see our review) are among the novels to make the cut.
Letterman Has Done Creepy Things
David Letterman has possibly topped himself. As told on the show last night, he has been doing some creepy things. Click here for the video of one of the most bizarre, fascinating — and arguably brilliant, from a PR standpoint — mea culpas in recent history.
Single-Serving Atwood
Ebook purveyor Byliner continues its foray into fiction with a new story by Margaret Atwood: “I’m Starved for You” (Here’s an excerpt)
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This Isn’t Your Mother’s DoubleX
The debut issue of Candor magazine is like a Sassy for the intellectual set, rife with wit (Emily Gould and Merisa Meltzer discuss Away We Go), intelligence (writer mother Rachel Zucker and woman writer Sarah Manguso speak candidly about identity, motherhood, women’s prejudices and writing), and women’s rights (Atossa Abrahamian considers the rhetoric of the rape victim).
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