Move over, “GIF.” (Or, more accurately: animate yourself away from us in an unending loop.) There’s a new Oxford Dictionaries word of the year. Enter, “selfie,” a word of Australian origin that describes an ostensibly new “digital affair, [that’s actually] a novel iteration of an old form: the self-portrait.” (They even come with overarching themes of mortality.)
Let’s play a game: a “lazy Sunday” version of a Choose Your Own Adventure novel. Ready? Good. Imagine you’re hanging out with Junot Díaz today. What do you want to do? Select Option A to go barhopping. Select Option B to go comic book shopping. Select Option C to read an excerpt from his new book, This Is How You Lose Her. Or Select Option D to read Leah Hager Cohen’s review of the collection. There is no wrong answer.
Hot on the heels of The New Yorker, The Paris Review is excerpting Calvino’s letters. In Monday’s entry, POSTERITY IS STUPID, the author writes the following: “Although I am small, ugly and dirty, I am highly ambitious and at the slightest flattery I immediately start to strut like a turkey.”
How do women write about the apocalypse? Sloane Crosley considers, referencing work from Mary Shelley, P.D. James, Laura van den Berg and our own Emily St. John Mandel. Pair with these Millions interviews with van den Berg and Mandel. Unfortunately, Mary Shelley was unavailable for comment.
Michael Chabon’s Telegraph Avenue (as seen in our Book Preview; and excerpted here) is due to hit shelves early September, and everybody seems pretty excited about it. How excited? Well, the book will come with an “enhanced e-book” replete with multimedia features, and the publishers have also decided to create a pop-up version of Brokeland Records, one of the novel’s main settings.