“It seems that not only do Americans see beer as a person, they see beer as a person other people like better than them.”
Theoretically, it pays to get a novel on Amazon’s best seller list. In reality, though, a bestselling novel doesn’t make as much in cold hard cash as you’d think.
An excerpt of the lost and recently found Alexandre Dumas novel The Last CavalierAn assessment of poetic cliches in VQR. The surprise: some actually improve your chance of getting published.Jennifer Gilmore interviews the criminally underrated Max Apple.That novelists’ strike not working out so well.Despite some withering condescension, Robert Gottlieb has interesting things to say about John Steinbeck.Penguin UK offers up some alternative storytelling techniques with its We Tell Stories site. The first is a tale by Charles Cumming told by messages inserted into Google Maps. (Thx, Mrs. Millions)Books cops like. (Thx, Laurie)The trend of the massive hyper-expensive book continues.Daniel Radosh points out that the New York Times has, yet again, published a trend piece on bloggers getting book deals.And finally… The Catalog of Unfit Toys: Finding Delight in the Defective
At The New Republic, Andrew Wylie talks about how he made millions off strictly “highbrow” fiction, a category which (for those who are curious) does not include the works of James Michener and the late Tom Clancy. Wylie — whose clients include Philip Roth, Martin Amis and Mary Gaitskill — suggests that a modern literary agency “needs to be able to expand infinitely, like a Borgesian library.”
In the latest issue of Harvard magazine, Nathan Heller writes about Arion Press, the last remaining “full-service letterpress in the United States.” Apparently Arion, which has “an in-house foundry where lead is melted into ingots,” sells editions of canonical titles (like Ulysses) that retail for thousands of dollars. (h/t our own Kevin Hartnett)