Many if not most painters attempt self-portraits at some point, but how many of them paint self-portraits exclusively? At The Morning News, a gallery of self-portrait maven Haley Hasler’s work.
Gaze Turned Inward
Ghostwriters
What happens when a writer inserts a ghost or monster into a story? At Berfrois, Alexander Stachniak argues that much of our current literature about the uncanny fails to help writers looking to answer this question. (Related: Steve Himmer on his monstrous Mary Poppins dreams.)
Tuesday New Release Day: Perotta, Johnson, Pelecanos, Torres, Fonts, Murray
New this week: The Leftovers by Tom Perotta, Train Dreams by Denis Johnson, The Cut by George Pelecanos, Justin Torres’s debut We the Animals, and Just My Type: A Book About Fonts. And new in paperback is Millions Hall of Famer Skippy Dies by Paul Murray.
●
●
Publishing’s Payout
Publishing is a business in which some authors make seven to eight figures, some executives make six figures, most editors make five figures, and most interns make nothing.
●
●
Musical Theories
We’ve written a fair bit about the By the Book series at the Times. You can read a selection of the best entries in a collection published by the paper. This week, the series featured another novel guest: Alan Gilbert, the conductor of the New York Philharmonic. Sample quote: “I don’t seek out books about music. I’ve read them over the years, but somehow, as a genre, it isn’t something I am specifically looking for.”
●
●
Jonathan Safran Foer, Cut Up
Did you know that a new Jonathan Safran Foer book is coming out this week? We didn’t until we saw a mention of it at Kottke. More surprising is the form of the book itself. Foer has created a new work called Tree of Codes by cutting out sections of one of his favorite books, The Street of Crocodiles by Bruno Shulz. The die-cut, Kindle-proof volume is the first major title by London-based Visual Editions. Vanity Fair has more.
By Heart
“Everyone says Anna Karenina is about individual desire going against society, but I actually think the opposite is stronger: the way societal forces limit the expression of the individual.” Here is Mary Gaitskill on Anna Karenina for The Atlantic’s By Heart series, in which writers reflect on some of their favorite passages in all of literature. We’ve brought you a bit on By Heart here, here, and here.
●
●
From Wharton to Woolf
Did Virginia Woolf learn a bit of her modernism from Edith Wharton? John Colapinto argues so in The New Yorker, pointing out that the famous middle section of To the Lighthouse seems to mirror the innovative end of The Age of Innocence.
●
●
That Old Thing?
If you went to Dublin at one point and paid a visit to The Book of Kells — and if you didn’t, what gives? — you’ll appreciate this take on the artifact in The Irish Times.
●
●