The 2014 Guggenheim Fellows were announced this week, and this year’s batch of honorees (PDF) includes ten poets, seven writers of fiction, and ten writers of “general nonfiction.” Among the names on the list, Millions readers will be thrilled to see Year In Reading contributors Hari Kunzru, Julie Orringer, Meaghan O’Rourke, and Susan Orlean, as well as a number of writers who had work mentioned in other peoples’ YIR posts: Adrian Matejka, Patricia Smith, Victoria Redel, and Claire Vaye Watkins.
During its ongoing contract talks with the publisher, Amazon has been displaying that Hachette's books ship in "up to 3-5 weeks." James Patterson, one of their biggest authors, has declared on Facebook that “there is a war going on between Amazon and book publishers.” The Washington Post has more on the backstory of Amazon's strategy, while the New York Times blog details how Patterson and other authors are fighting back.
Cee Lo Green will be dropping a memoir in 2013, and his press release reads like something that's gone through four different spins in Google translator: "Talk about art imitating life? Enter into the super-natural, the surreal and the extra-ordinary that is [Cee Lo Green.] Do you think this is by chance? CRAZY? FORGET YOU? After reading this book, there will be no doubt that I am meant to be. CEELO GREEN A.K.A ‘everybody's brother’ will make you a believer, not only in me, but also...yourself."
Originally, the film 2001: A Space Odyssey included more narration by co-writer Arthur C. Clarke, whose short story "The Sentinel" was the basis for Stanley Kubrick's script. At the last minute, Kubrick decided to cut them out, which led to Clarke leaving the US premiere halfway through. In a piece for The New Statesman an old friend of Clarke's explores his side of the story. You could also read Ted Gioia on a weirdly predictive '60s sci-fi novel.
A memoir by Winnie-the-Pooh author A.A. Milne shows a writer frustrated at how his creation undermined his adult literary cred. Republished 70 years after it went out of print, It's Too Late Now reveals a trapped Milne wishing for more control over his own narrative: “I wanted to escape from [children’s books] as I had once wanted to escape from Punch; as I have always wanted to escape. In vain. England expects the writer, like the cobbler, to stick to his last.”