In the New York Times, a review of 2013 Year in Reading alum Olivia Laing’s new book, which delves into the alcoholism of Hemingway, Fitzgerald and six other famous writers. Among the biographical tidbits in the book: Tennessee Williams had a brandy Alexander every day when he lived in New Orleans.
New this week: Amnesia by Peter Carey; Outline by Rachel Cusk; The First Bad Man by Miranda July; Binary Star by Sarah Gerard; Bonita Avenue by Peter Buwalda; The Girl on the Train by Paula Hawkins; Refund by Karen Bender; In Some Other World, Maybe by Shari Goldhagen; Harraga by Boualem Sansal; and West of Sunset by Stewart O’Nan. For more on these and other new titles, check out our Great 2015 First-Half Book Preview.
Out this week: The Familiar, Volume 1 by Mark Z. Danielewski; The Green Road by Anne Enright; The Book of Aron by Jim Shepard; The Edge Becomes The Center by DW Gibson; The Daemon Knows by Harold Bloom; How to Start a Fire by Lisa Lutz; Girl at War by Sara Novic; The Subprimes by Karl Taro Greenfeld; and City by City, an essay collection edited by Keith Gessen and Stephen Squibb. For more on these books and other new titles, go read our Great 2015 Book Preview.
We’ve published a fair number of pieces about the import of book covers. You may have read one of our US-UK book cover battles. Over at The Awl, Amanda Pickering takes a look at one of the stranger aspects of book design: the animals that appear on the covers of programming books.
Out this week: The Relic Master by Christopher Buckley; Paradise City by Elizabeth May; The Merman by Carl-Johan Vallgren; and The Penguin Collected Plays of Arthur Miller. For more on these and other new titles, check out our Great Second-Half 2015 Book Preview.
“[L]overs of more experimental books showed the ability to see things from different perspectives but it was comedy fans who scored the highest for relating to others.” A new study suggests that people who read books are nicer, reports The Independent. In our recent interview with author John Vaillant he wholly agreed. “Empathy is what gives you the access,” he told us. “I see the writer (fiction or nonfiction) as a kind of permeable membrane through which the thoughts, feelings, and experiences of others can pass and manifest.”