Are you still not following Pentametron, even after I urged you to do so last week? (And even after New York Magazine added it to its Approval Matrix?) Well, if that’s the case, I shouldn’t even share Earwickr with you. You don’t deserve to read Finnegans Wake spelled out on your Twitter timeline, 140 characters at a time. (Bonus: Michael Chabon reviews James Joyce’s final work for The New York Review of Books.)
The term “academic writing” is controversial, not least because it implies that academics have an odd and persnickety way of writing. In a blog post for The New Yorker, Joshua Rothman examines the genre, looking back on his time in grad school to argue that academic writing is a “fraught and mysterious thing.”
Here are the first lines of the new Tom McCarthy novel, C, forthcoming in September: “Dr. Learmont, newly appointed general practitioner for the districts of West Masedown and New Eliry, rocks and jolts on the front seat of a trap as it descends the lightly sloping path of Versoie House. He has sore buttocks: the seat’s hard and uncushioned.”
David Denby wonders: After nearly 150 years have passed since its initial publication and countless imitators have blunted its artistic radicalism does Dostoevsky’s Notes from the Underground still pack a punch? For more contemporary readings of Dostoevsky, see Rob Goodman’s recent article on forensics, The Brothers Karamazov and the death of the courtroom drama.
Our own Bill Morris has a new novel on shelves this week, which you can learn more about in his recent conversation with our own Edan Lepucki. Also out: A Man Called Ove by Fredrik Backman; Wayfaring Stranger by James Lee Burke; All I Love and Know by Judith Frank; Evergreen by Rebecca Rasmussen; The Hour of Lead by Bruce Holbert; The Spark and the Drive by Wayne Harrison; Owen’s Daughter by Jo-Ann Mapson; and Season to Taste by Natalie Young.