In his ongoing efforts to accomplish the impossible, the artist Jason Novak has drawn Finnegans Wake.
Illustrating Riverrun
On Cocktails, Camaraderie, and Chaos
Times drink columnist Rosie Schaap discussed Drinking With Men in the pages of The Observer. Meanwhile, Derek Brown has some advice for bartenders across the country: for the love of all that is holy, stop inventing so many new, wild drinks!
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“Ah the world, oh the whale!”
“Ah the world, oh the whale!” At The Washington Times, my review of Philip Hoare’s wonderful new anatomy of all things cetacean, The Whale, winner of the prestigious Samuel Johnson nonfiction prize. (ECW)
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A Swan of Old
“After only a few lines of Mallarmé, you are engulfed in fine mist, and terror sets in.” Here’s a piece from The New Yorker on contending with the supreme enigma of Stéphane Mallarmé’s poetry.
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Fifty Shades Again
Believe it or not, Fifty Shades of Grey was still the bestselling book of 2015. For a fascinating, in-depth look at what sold and what didn’t, head over to The Guardian. The disconnect between the retail top ten and the myriad year-end lists alone is worth the look.
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In the Pope’s Own Words
Over at Asymptote, Oonagh Stransky talks about the transformative experience of translating Pope Francis. As she puts it, “I not only discovered a gentle, deeply human side to this Pope, I felt something change or soften inside me.”
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I Am Not Elena Ferrante
No surprise here — Elena Ferrante fever continues to sweep the literary world. Last week, an Italian historian was forced to deny claims that she was actually the Neapolitan novelist. Now, The Guardian takes a look at the unique history of pseudonyms and posits whether Ferrante’s mystery might outlast some famous historical masqueraders. For the unacquainted, here’s a quick piece on reading Italy through Ferrante’s work.
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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