“Nowadays, we tend to place spies into a cold war narrative: East vs. West, intrigue around the Berlin Wall, Graham Greene’s Vienna, and George Smiley’s London. But the first and most successful Soviet spies emerged much earlier.”
“That’s always been part of my goal — to show the dark side of women. Men write about bad men all the time, and they’re called antiheroes. … What I read and what I go to the movies for is not to find a best friend, not to find inspirations, not necessarily for a hero’s journey. It’s to be involved with characters that are maybe incredibly different from me, that may be incredibly bad but that feel authentic.” Gillian Flynn and Cheryl Strayed talk with The New York Times about the adaptations for Gone Girl, Wild, and writing credible characters. Their conversation pairs well with our own Edan Lepucki‘s essay on likability in fiction.
Out this week: Dinner at the Center of the Earth by Nathan Englander; Sourdough by Robin Sloan; Border by Kapka Kassabova; A Legacy of Spies by John le Carré; and Sing, Unburied, Sing by Jesmyn Ward. For more on these and other new titles, go read our most recent book preview.
“I always had the sneaking and sinking suspicion that there would have been no place for me … there were no Scarlett O’Haras in the Beat world. There were women, certainly, but they felt like cardboard cut-outs, something to move around, admire, shift gently out of the way when necessary. In fact, the only women Kerouac and Ginsberg seemed to genuinely respect were their mothers.” Lynette Lounsbury at The Guardian on falling in love with the Beat generation, which may or may not have loved her back.