Boris is coming to the big screen. Nina Jacobson, the producer behind The Hunger Games, has acquired the rights to adapt Donna Tartt’s The Goldfinch. Whether it will be a film or TV miniseries is still up for question, but if the actors need any help getting into character, check out our essay on identifying with Theo and learn how to tweet like Boris.
The 2017 Hugo Award winners were announced in Helsinki, reports io9. For the second year in a row N.K. Jemisin came away with the best novel prize for her latest, The Obelisk Gate, and Ursula K. Le Guin (whom we interviewed a few years back) took “best related work” for her collection Words Are My Matter: Writings About Life and Books, 2000-2016.
“Whenever I tried to invent a character or a situation, I felt a stab of guilt. I could hear my teacher’s quavering voice saying, Write what you know! Why had she insisted on this so vociferously?” Writing class mantras are easy to impart but they are also easily misinterpreted. A.X. Ahmad, author of The Last Taxi Ride and The Caretaker, learns this truth the hard way as he tries to become a writer following a personal upheaval. Pair with Ahmad’s Millions essay on “The Thriller, Reinvented.”
“Hoaxers make it seem like things are as bad as we fear they are, and they often, especially now, play on our fears rather than our wishes.” The Rumpus interviewed New Yorker Poetry Editor Kevin Young about the inspiration behind his new book, Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News. Pair with Young’s Year in Reading entry and our review of Bunk.
At Bloom this week, check out the feature on novelist Jon Clinch, and the accompanying Q&A, where Clinch talks in-depth about his decision to self-publish his fourth novel after having his first two published by Random House. He says that his second novel, Kings of the Earth, “was set up for success: Oprah’s magazine put it at the top of their summer reading list, and it went on to be named one of the best novels of the year by theWashington Post. But the Oprah nod came six or eight weeks before publication date, and Random House either couldn’t or didn’t capitalize on it. By the time the book hit the shelves, it was already forgotten. I simply couldn’t bear the possibility that The Thief of Auschwitz might slip into the abyss.”
Legally sampling songs on a hit record is astoundingly expensive. As Kembrew McLeod and Peter DiCola note in Creative License: The Law and Culture of Digital Licensing, the Beastie Boys would have lost $19.8 million dollars because of Paul’s Boutique. (via BoingBoing)