Three weeks ago, Vishwas Gaitonde wrote a piece for us about a house in India once owned by the family of George Orwell. Now, in the Times, Jane Perlez pays a visit to Burma, where Orwell served in the Imperial Police Force and gathered impressions for his first novel, Burmese Days.
When The Counselor (trailer here) opens in theaters this month, the occasion will mark a career milestone for Cormac McCarthy. The 80-year-old novelist has been writing original screenplays since the 1970s, but only one of them – a made-for-TV movie called The Gardener’s Son – was produced before this latest effort. Over at The Wall Street Journal, Alexandra Alter takes a look at the author’s involvement in the production of The Counselor, as well as its reception by several film industry insiders and devout McCarthy fans. (“McCarthy writing a sex scene is maybe not a great idea,” one of them says.)
Amazon’s “Public Notes” feature kindle.amazon.com isn’t as new as some are saying, but it might be creepier than you think. In other Kindle news, GalleyCat‘s put together a “how-to” guide to copy and pasting text selections from one device to another.
Where does the “panic attack when you think you’re not reading enough” fit in to all of this? Here are a few professional readers on how they keep from mixing business with pleasure. This essay on Lewis Lapham and reading just for pleasure might also tickle your fancy.
Out this week: M Train by Patti Smith; Mothers, Tell Your Daughters: Stories by Bonnie Jo Campbell; 100 Years of the Best American Short Stories edited by Lorrie Moore; The Secret Chord by Geraldine Brooks; The Tsar of Love and Techno by Anthony Marra; Death by Water by Kenzaburō Ōe; and Ghostly: A Collection of Ghost Stories by Audrey Niffenegger. For more on these and other new titles, go read our Great Second-Half 2015 Book Preview.
“What does it look like to be the child of war? A product of war? What does it look like to be a queer child from a very traditional Confucian family? How does one feel to pay homage to a family but to also, in a way, betray those familial values?” Kaveh Akbar interviews Ocean Vuong about linguistic identity, syntax, and the American gaze for Divedapper.