Why does the new Liam Neeson film use a hyphen in its title? According to AP Style, “nonstop” is one word, yet the film is marketed stateside with a hyphen stuck in the middle. At Slate, L.V. Anderson looks into a typographic mystery.
“After ten years of painting, that is to say ten years of using an abstract, invented language, writing stories was the closest I had come to working in the realm of ‘realism.’ It was the most direct I had ever been in my art. Perhaps the most direct I had ever been. But, as I learned from the comments of my peers in workshop (‘this isn’t a story,’ ‘this is poetry,’ ‘what is this’), my writing was something other than what we referred to as literary realism. By which I mean, the writing many have come to believe most accurately represents life.” Susan Steinberg asks what happened to American experimental writing.
The Washington Post reports that Spanish writer and Cervantes Prize winner Juan Goytisolo has died at age 86. Bruna Dantas Lobato wrote about Goytisolo’s 1970 novel of dispossession Count Julian for us, noting that “[j]ust like the nature of exile itself, the narrative offers no relief, no place of rest: just fragment after fragment of dry landscapes, lonely characters, and rooms in disarray.”
New this week is The Tiger’s Wife, the hotly anticipated debut of Téa Obreht, the youngest of the New Yorker’s 20 Under 40 from last year. Also new in the fiction aisle is Carol Edgarian’s Three Stages of Amazement. David Brooks’s latest pop sociology effort The Social Animal is now out — this one, excerpted in the New Yorker — sets itself apart from similar tomes by illustrating its findings through a pair of fictional characters. Now out in paperback are National Book Award winner Lord of Misrule by Jaimy Gordon, Ian McEwan’s Solar, and Rebecca Skloot’s non-fiction blockbuster The Immortal Life of Henrietta Lacks.