J.L. Galache wanted to honor the recently deceased Iain Banks in a way befitting the man’s memory. So of course he named an asteroid after the author. With the help of Dr. Gareth Williams of the Minor Planet Center, Galache successfully lobbied the Committee for Small Body Nomencalture of the International Astronomical Union for Asteroid 5099 to be officially dubbed Iainbanks. (Bonus: John McIntyre honors Banks’s memory by reading through some of his best work.)
“Why write in an unlovable genre with an inevitably hectoring tone? Dystopia, situated in a dangerous no-man’s-land between the pulpit of the preacher and the safe sniper post of the satirist.” Future futurists, take note: the New York Review of Books reviews Chang-Rae Lee’s addition to your dystopic shelf, On Such a Full Sea, and ponders the virtues of the dystopic endeavor itself. (Bonus: Lee writes about his own 2013 Year in Reading here at The Millions.)
It’s a common saying among actors that the script does most of the work. Which raises an interesting question: is it possible for a great writer to make art out of a bad story? At The Kenyon Review’s blog, Amit Majmudar says it is, using Shakespeare as proof. Related: five experts on the Bard’s greatest plays.
As Maxwell’s prepares for its last couple days of existence, New York Magazine brought together the place’s original founder, it’s current co-owner, and a huge number of musicians to provide an oral history of Hoboken’s best concert venue. You might recall my piece from last month on the institution’s demise.
New this week is The Tiger’s Wife, the hotly anticipated debut of Téa Obreht, the youngest of the New Yorker’s 20 Under 40 from last year. Also new in the fiction aisle is Carol Edgarian’s Three Stages of Amazement. David Brooks’s latest pop sociology effort The Social Animal is now out — this one, excerpted in the New Yorker — sets itself apart from similar tomes by illustrating its findings through a pair of fictional characters. Now out in paperback are National Book Award winner Lord of Misrule by Jaimy Gordon, Ian McEwan’s Solar, and Rebecca Skloot’s non-fiction blockbuster The Immortal Life of Henrietta Lacks.