Kory Stamper, one of the lexicographers responsible for Merriam-Webster’s dictionary, describes the pleasures and poetry to be found in the Third Edition’s “color definitions.” Take vermillion for example, which is listed as “a variable color averaging a vivid reddish orange that is redder, darker, and slightly stronger than chrome orange, redder and darker than golden poppy, and redder and lighter than international orange.” (Related: how colors got their names; who names colors what.)
Out this week: Exit West by Mohsin Hamid; South and West: From a Notebook by Joan Didion; All Grown Up by Jami Attenberg; Ill Will by Dan Chaon; The Accusation by Bandi; The Night Ocean by Paul La Farge; and American Berserk by our own Bill Morris. For more on these and other new titles, go read our most recent book preview.
In the New York Times, Mokoto Rich highlights the superfluousness of book covers in the digital age and the marketing challenges that result. cf. “Ether Between the Covers: Gifting Books in a Digital Age.”
David Carr takes a look at The Atavist, whose team of multimedia gurus has won the attention (and seed funding) of Google founder Eric Schmidt. Of course, the outfit’s also been receiving generous attention for their quality work, too. (I mentioned them a few months ago.) More recently, however, certain scientific circles have fawned over the subject of their story The Electric Mind, which tracks one paralyzed woman and the scientists who developed the BrainGate technology which eventually got her moving… robotically.
How do women write about the apocalypse? Sloane Crosley considers, referencing work from Mary Shelley, P.D. James, Laura van den Berg and our own Emily St. John Mandel. Pair with these Millions interviews with van den Berg and Mandel. Unfortunately, Mary Shelley was unavailable for comment.