According to this week’s New York Magazine Approval Matrix, our own Kevin Hartnett’s article from two weeks ago is a highbrow yet despicable piece of writing. What makes it so despicable, you ask? Apparently they blame Professor Tom Ferraro’s adulatory passage on the The Godfather.
Despicable Us
On the Spectrum
What color would The Little Prince be? Before you dismiss this as an inane question, artist Jaz Parkinson created color signatures based on how often books mentioned certain hues. The results look like a better Rothko painting. Pair with: Radiolab’s fascinating podcast on the science of color.
The Dead and the Pre-Dead
“For obit writers, the whole world is necessarily divided into the dead and the pre-dead. That’s all there is.” The Paris Review interviews Margalit Fox, a senior writer for The New York Times, on the complicated art of obituaries.
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New from Neruda
Then Come Back: The Lost Neruda will compile never-before-seen poems from Pablo Neruda’s archives. “Forrest Gander, the Brown University professor who translated the poems into English, likens the discovery to finding a trove of new sketches by Michelangelo.” Visit Neruda’s home with Luke Epplin.
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Philip Roth Disses Fiction
Philip Roth, one of America’s most distiguished and prolific novelists, tells the Financial Times that he no longer reads fiction. Why not? “I don’t know,” he says. “I wised up.”
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Coming Soon: Beautiful Ruins
Todd Field, who directed In the Bedroom and Little Children, is going to bring Jess Walter’s Beautiful Ruins to the big screen. The book was a big favorite among this year’s Year In Reading contributors.
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Bubbles and Zeroes
There’s been a lot of digital ink spilled about the traumas lurking in the comment section. It’s almost a rite of passage to get abused for something you write. But there’s another kind of trauma — what happens when you get no comments at all? At The Rumpus, Rachel Newcombe writes about a new kind of emptiness.