At The Hairpin, Edith Zimmerman tries her hand at spooky short fiction.
“Eleven years later, the Atlantic Monthly editor, Thomas Wentworth Higginson, made a similar request to an obscure, retiring poet named Emily Dickinson who had written a letter asking if her verses ‘breathed.’ Her response was much like Melville’s, if typically elliptical: ‘Could you believe me—without? I had no portrait, now, but am small, like the Wren, and my Hair is bold, like the Chestnut Bur—and my eyes, like the Sherry in the Glass, that the Guest leaves—Would this do just as well?'” The age-old problem: how writers deal with publicity.
Recommended reading: Sara Polsky writes for the New Yorker about “The Detective Novel That Convinced a Generation Richard III Wasn’t Evil.”
New this week is Joshua Cohen’s Four New Messages, while John Banville (writing as Benjamin Black) is out with Vengeance. Also new on shelves: Aftermath, a memoir by Rachel Cusk; Peter Heller’s post-apocalyptic debut novel The Dog Stars; David Gillham’s novel of WWII Berlin, City of Women; and In the Shadow of the Banyan, Vaddey Ratner’s novel set in the Cambodia of the Khmer Rouge. Out in paperback are Adam Johnson’s The Orphan Master’s Son and Edie Meidav’s Lola, California.
HBO turned down the television adaptation of Jonathan Franzen’s The Corrections, despite an all-star crew: Franzen himself adapted the novel to television, Noah Baumbach promised to direct the series, and Ewan McGregor and Maggie Gyllenhaal were cast as leads. Novelist A-J Aronstein can now breath a sigh of relief; they won’t be filming The Corrections at anyone’s house.
Three cheers for Jim Crace, who just took home the 20th annual IMPAC Dublin Literary Award! If you remember our coverage of the shortlist, you’ll know that the Harvest author beat out TransAtlantic author Colum McCann and Americanah author Chimamanda Ngozi Adichie, among others.