Generally speaking, it’s a good idea to take Kathryn Schulz’s book recommendations. However when she refers to something – in this case J.M. Ledgard’s Submergence – as “the best novel I’ve read so far this year,” you really ought to listen up. By the time she invokes Philip Gourevitch, Anne Carson, W. G. Sebald, and John Le Carré in her review of that book, you ought to be reaching for your wallet.
“The real subject of his book is scale”
Between Life and Death
Over at the Public Domain Review, Sharon Ruston examines the scientific background to Mary Shelley’s Frankenstein, from resuscitation to galvanism.
Reel Results
Hanah Anderson and Matt Daniels analyzed two thousand screenplays for their representation of gender and age. Check out their data here. Pair with a recent piece from our own Bill Morris on the Hollywood biopic.
Bloomberg’s Daughter
“When a writer is born into a family,” wrote poet Czeslaw Milosz, “that family is finished.” Well, now Michael Bloomberg can say goodbye to his family. Georgina Bloomberg, daughter of New York City’s three-term mayor, has penned The A Circuit a roman a clef about the daughter of blunt-talking Wall Street billionaire who “owns half of New York.”
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Tuesday New Release Day: Ball; Flanery; MacMahon; Raabe; Feldman; Ryan; Hebert
New this week: How to Set a Fire and Why by Jesse Ball; I Am No One by Patrick Flanery; The Long, Hot Summer by Kathleen MacMahon; The Trap by Melanie Raabe; Absalom’s Daughters by Suzanne Feldman; The Dream Life of Astronauts by Patrick Ryan; and Angels of Detroit by Christopher Hebert.
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Judging an Author by the Cover
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Slanting Light and Seedy Motels
“In noir, the problem is not an individual: the problem is the world.” Over at Electric Literature, Nicholas Seeley advocates for the efficacy of noir as a protest genre. Here’s a piece from The Millions’s Hannah Gersen that argues for Bartleby, The Scrivener as another surprising example of protest literature.
Metaphorical Departure
We all spend way too much time in airports this time of year, but Brad Leithauser searched for a metaphor about his journeys through BWI. As he writes for The New Yorker, “There was a piquant pleasure on the night when I first put these two experiences—morning churchgoing, evening airport-going—side by side. I’d been idly and only semi-consciously asking myself what these nocturnal intervals at B.W.I. reminded me of, and now, suddenly, I’d located my metaphor.”