Callan Wink, the Wyoming writer who’s published two stories in The New Yorker since 2011, has a new story, “One More Last Stand,” in Granta’s Spring issue. Among other things, it depicts the oddly frightening “heat of battle re-enactment.”
Costume Drama
To the Stars and Beyond
Very exciting news for space nerds: NASA just opened its research library to the public for free. Pair with our suggestions for the best fiction to send into space.
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New Stoppard on the Way
A new Tom Stoppard play entitled “The Hard Problem” will open next January at the UK’s Dorfman Theatre. The production will be Stoppard’s first new play since “Rock N’ Roll” in 2006.
After the last word
This weekend–at 2:30 am on Saturday, to be precise–Twitter bot @everyword was set to complete its 7-year run with the final word in the English language: “zymurgy.” Unexpectedly, the bot tweeted again half an hour later–with a nontraditional character it had surreptitiously glossed on the first run: éclair. Since @everyword, like Lazarus, probably won’t get the same fuss after its second death, check out The Guardian’s interview with creator Adam Parrish now.
Playboy and Madame Bovary
Macy Halford at Book Bench imagines Playboy as the Madame Bovary of the 1950s.
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Book Picker Book Picker Pick Me A Book
It’s time for NPR‘s Book Concierge again! The interactive site will help you sort the year’s releases by about a gazillion criteria, including “book club ideas” and the seriously great “seriously great writing.”
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100 Plays for the First (Trump) Hundred Days
Suzan-Lori Parks wrote a play every day during Trump’s first 100 days as president which will be published next year as 100 Plays for the First Hundred Days. She talks to American Theatre about why she decided to undertake such a project, how difficult the process was and the importance of showing up and being present. Includes excerpts from the book.
Beyond the Pale
Nowadays, Lord of the Flies is a byword for savagery, a book that illustrates more potently than any other just how low it’s possible for humanity to sink. In The Guardian, Robert McCrum ties the book’s conception to the second World War, arguing that its view of the world was “unimaginable” without Nazi Europe.
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