Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the “Elmore Leonard paradox” in The Atlantic. “Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir.” Pair with: Our own Bill Morris’s essay on why Leonard was such a good writer.
“Mom would meet up with us in the museum, take us to study Impressionist or Modern art. It always made me want to puke, but we did it every weekend for over a year.” Smithsonian Magazine has a lovely piece about the story behind the children’s classic From the Mixed-Up Files of Mrs. Basil E. Frankweiler, including lots of anecdotes from author E.L. Konigsburg‘s kids.
Out this week: Book of Numbers by Joshua Cohen; The Jezebel Remedy by Martin Clark; Second Life by S.J. Watson; The Wolf Border by Sarah Hall; Language Arts by Stephanie Kallos; The Household Spirit by Tod Wodicka; Valley Fever by Katherine Taylor; and Rise by Karen Campbell. For more on these and other new titles, go read our Great 2015 Book Preview.