18bis, a design and animation studio located in Rio de Janeiro, has animated Pablo Neruda’s homonym poem, “The Me Bird.” Laughing Squid has more information, as well as a behind-the-scenes look at how the video was made.
“Exorbitant cost aside, if I can have the complete works of Shakespeare electronically beamed into my brain in under ten minutes, can I really say I’ve experienced Shakespeare? There is something organic about the experience of moving your eyeballs from left to right over an LCD screen in order to take in a sequence of marks the brain then must interpret as words, all the while using your hands to grip a lightweight, durable device.” Arguing for e-books over beaming text into your brain.
The Walter Scott prize did an analysis of prize submissions since its eight years of existence-with 650 novels submitted-and found that “38% of its submissions were set in the 20th century, while 19% were set in the Victorian era, between 1837 and 1901.” They also found many of the submissions focus on World Wars II and II and that the number of women historical fiction writers submitting their work has gone up.”The [Walter Scott] Prize celebrates quality, innovation and longevity of writing in the English language, and is open to books first published in the previous year in the UK, Ireland or the Commonwealth,” the breakdown is fascinating.
Edith Pearlman has been writing stories for a long time, but it’s only recently that she’s received widespread attention for them, as evidenced by this New Yorker piece on the author by James Wood. In it, Wood writes about the ways in which Pearlman is “a fabulist in realist’s clothing,” among other things. Pair with: Josh Cook on Pearlman’s book Honeydew.
New this week: Everything I Never Told You by Celeste Ng; Mambo in Chinatown by Jean Kwok; The Appetites of Girls by Pamela Moses; Shrink Thyself by the Letterman staff writer Bill Scheft; The Last Taxi Ride by A.X. Ahmad; and the Cambridge University Press edition of F. Scott Fitzgerald’s Taps at Reveille.