“Any reasonably skilled novelist can evoke on the page the texture of memory, drawing the reader into the half-remembered, the blurred edges, the nervous nostalgia, the meandering associations across time and geography. In contrast, flashbacks on screen tend always to be clumsy beasts, announcing their arrival with unwanted fanfare and knocked-over furniture. Why is this?” Kazuo Ishiguro on film, and other novelists’ second-favorite art forms.
The Remains of the Screen
‘A Letter in Living Color’
Says the New York Times: "We recently received, in a tube sent by postal mail, something new in our experience: a 15-foot-long scroll to the editor." (via @LettersOfNote)
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Kindle Spam is Here
Inevitable: Spam is increasingly cropping up among the self-publishing hordes on the Kindle.
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Tuesday New Release Day: Gould; Foster; Netzer; Sohn; Rotert; Jacob; Canobbio; Wallace; Weil; Beckett
Out this week: Friendship by Emily Gould; God Is an Astronaut by Alyson Foster; How to Tell Toledo from the Night Sky by Lydia Netzer; The Actress by Amy Sohn; Last Night at the Blue Angel by Rebecca Rotert; The Sleepwalker’s Guide to Dancing by Mira Jacob; Three Light-Years by Andrea Canobbio; The Sacred River by Wendy Wallace; The Great Glass Sea by Josh Weil; and a previously unpublished short story by Samuel Beckett.
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“How like a prison is my cubicle…”
In May, poet David Lehman wrote the first line of a sonnet about cubicle anomie and began crowdsourcing the rest. The completed 12-week project at The American Scholar is not merely a pretty great piece on its own, but a lesson in how to write one, line by line: 2, 3, 4, 5, 6, 7, 8/9, 10, 11, 12, 13, 14. You can submit your title suggestion as late as midnight on Sunday, but we suggest getting a start on it now, while the prison of work is still fresh in mind. (h/t The New York Times)
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