Reporting on a war in your homeland is tricky business, but in the fifties, Albert Camus (whose collected articles on the Algerian War of Independence are now available in book form) managed, in spite of his investment in the conflict, to get it right.
Don’t worry, everybody — Anita Thompson, widow of gonzo journalist Hunter S. Thompson, has finally returned the prized pair of antlers that Thompson stole from the Idaho home of Ernest Hemingway, himself. The antlers, which he stole while in Idaho on assignment reporting on Hemingway’s suicide, had hung in Thompson’s garage for the past fifty-four years.
“In my mind, the encircled bird on the cover of the 1978 Pocket Books edition of Play It As It Lays immediately recalled another: the mockingjay pin given to Katniss Everdeen at the start of Suzanne Collins’s The Hunger Games.” At Paper Monument: the importance of book covers.
It’s a big season for Zadie Smith. While most of us eagerly await the publication of her latest book, NW, the author’s earlier work, On Beauty, is set to become a feature film. Smith’s first book to be dramatized on film was White Teeth, a UK mini-series from 2002 based on her book of the same name. (And available online if you have Hulu Plus.)
“[L]et’s not pull punches — misogyny has disfigured how Dickinson’s story is told. We’re missing out on a fierce mind when we reduce her to a spinster perseverating alone in her room writing poems to the ether.” A new Emily Dickinson exhibition proves the poet wasn’t nearly as much of a recluse as we’ve been led to think, writes Daniel Larkin for Hyperallergic. Pair with this piece on Paul Legault’s English-to-English translations of her poetry, which “transports Dickinson into mostly fortune-cookie length snippets of contemporary English, a dialect spoken widely in urban pockets like Brooklyn, where increasing numbers of the highly educated and literary classes live, procreate, keep each other amused, and make their own cheese.”