Mark Seal explores the ongoing legal battle between Harper Lee and Samuel L. Pinkus, the latter of whom is said to have “’engaged in a scheme to dupe Harper Lee, then 80-years-old with declining hearing and eye sight, into assigning her valuable TKAM [To Kill a Mockingbird] copyright to [Pinkus’s company] for no consideration,’ and then created shell companies and bank accounts to which the book’s royalties were funneled.”
Director Ross Ching was so inspired by photographer Matt Logue’s “Empty LA” project, he decided to expand the idea. What’s resulted is the ongoing Empty America series, whose first two installments depict Seattle and San Francisco without any humans present. Coming up: Washington D.C. and New York City.
Much linked elsewhere, Triple Canopy has published the first complete English translation of the Roberto Bolano’s 1999 speech accepting the Romulo Gallegos Prize.Keith Gessen of n+1 and All the Sad Young Literary Men has started a blog. People who like to make grand pronouncements about such things and/or snark about them are all aflutter. (via)Onward in snark, Tao Lin describes the “Levels of Greatness” for the American novelist. Spoiler alert: Philip Roth wins again. (via)Robert McCrum chronicles his ten years as The Observer’s literary editor in ten chapters, from “Chapter 1: New Blood: Zadie Smith” to “Chapter 10: The Kindle.”
“Perhaps it’s a sign that our literary culture is not quite so ailing that Smith managed to make a space for NW, to clear a third path, one that meanders through Willesden, through time, and through the mind.” Our own Emily M. Keeler on realism and Zadie Smith.
“Scared of the living, scared of the dead, and even more scared of the dead who are immortal.” Chinese censors have cracked down on social media sites following the death and hushed burial-at-sea of writer and Nobel Peace Prize winner Liu Xiaobo last week, reports The New York Times.
“As much as there is an evergreen fascination for Christie’s stories, there’s also an alluring air of mystery surrounding the woman herself.” Broadly explores the enduring nature of Agatha Christie‘s stories, the recent surge in adaptations (including Murder on the Orient Express), and the mysterious 11-day disappearance of the writer herself. From our archives: an essay on the sometimes inherent predictability of the mystery genre.