We thought we had a better chance of seeing Odin than Neil Gaiman’s American Gods on TV, but after the HBO deal fell through, the novel is finally being adapted for the small screen by FremantleMedia. Bonus: Gaiman’s Anansi Boys is also being adapted into a BBC miniseries by RED. To brush up on Gaiman’s interest in mythology, read our review of The Ocean at the End of the Lane.
One consequence of creating a beloved show is that you’ve got to deal with superficial paeans to it. David Simon has to know this, but he still seems cranky in this interview. Of course I’m not saying he can’t be chagrined by Grantland or Vulture’s recent TV brackets (which Simon singled out in subsequent remarks), but when he says he’s “it’s wearying” for people “to be picking [The Wire] apart now like it’s a deck of cards or like they were there the whole time or they understood it the whole time,” it’s a bit harder to take his side, and you feel like he hasn’t watched Erlend Lavik’s sophisticated and thorough video essay about The Wire‘s visual style. Surely analyses like this (or Žižek‘s, which we’ve mentioned before) deserve due credit.
“Good TV is not merely good TV (i.e. better-than-average TV), but TV that is so good it deserves to be taken as seriously as great films and even great Literature (yes, with a capital ‘L’). As such, watching Good TV and discussing Good TV are qualitatively different than watching and talking about other kinds of TV. The emergence of Good TV is a rather big deal in the recent history of American culture. It may well be one of the top two or three cultural developments of this still-young century.” Todd Hasak-Lowy dissects the TV revolution. (Pair with: our own Michael Bourne on the new age of cable and Broadway.) (h/t The Rumpus)
Listen to Pnin author Vladimir Nabokov read “An Evening of Russian Poetry” in the style—nay, as “an impersonation, in iambic pentameter, with fancy rhymes”—of that book’s titular professor.
At the Paris Review Daily, a post on what bloggers owe Montaigne: “There seems no end to the appeal of the essayist’s basic idea: that you can write spontaneously and ramblingly about yourself and your interests, and that the world will love you for it.” (via Book Bench)
The 113th anniversary of Thomas Wolfe’s birthday was last Thursday, but the author lives on in America’s cultural memory thanks to the title of his 1940 novel, You Can’t Go Home Again. Unfortunately, the titular phrase seems to be taken at face value by many people these days, and that can lead to some groan-worthy invocations. A newly-minted Tumblr blog illustrates the point.
For better or worse, the publication date of Umberto Eco’s final book has been bumped up — originally set for a summertime release, Pepe Satàn Aleppe: Chronicles of a Liquid Society is now due out in Italian this weekend. Check out this Eco essay on how to travel with a salmon.