“Writers are not often great lovers but pathological inventors of explanations. Sex induces a kind of cowardice in them, a fear of experimentation, of being vulnerable, of stepping naked onto the stage to examine all the presumptions that pass without question when everyone still has their pants on.” Michael Thomsen makes the case that dating writers is a bad idea.
In an effort to adjust more comfortably to the modern age, the Merriam-Webster company is revamping its iconic dictionary, the first to focus mainly on American English. At Slate, Stefan Fatsis considers the changes, which raise the question of what a modern dictionary should look like. Related: our own Bill Morris on the American Heritage Dictionary.
Out this week: The Last Kid Left by Rosecrans Baldwin; The Answers by Catherine Lacey; Dear Cyborgs by Eugene Lim; Perennials by Mandy Berman; Everybody’s Son by Thrity Umrigar; and The Gypsy Moth Summer by Julia Fierro. For more on these and other new titles, go read our most recent book preview.
The most depressing favorable review of a TV show you’ll read this year, LA Review of Books shares why “Catfish: The TV Show” is so poignant and so very sad.
Peter Osnos on how far the publishing industry has come since the galas and publishing events of the 1990s: “That the action in publishing now is in the creation of books rather than selling the rights to them is a meaningful indicator of the excitement in the industry about the digital potential.”