Over at The Review Review, Chuck Augello provides a useful guide for writers trying to determine where they should submit their work. He covers several aspects of the process: Identifying Potential Markets, Circulation, Evaluating the Journal, Evaluation Criteria, and Simultaneous Submissions. None are more important than the last, though: Do the Work.
Canonical literature isn’t the only way to learn about America. The bestseller list can be equally as telling. Matthew Kahn is reading 100 years of No. 1 bestsellers from 1913 to 2013. He blogs about the books and discusses the project in an interview with Salon’s Laura Miller. When Miller asks what makes a bestseller, he claims, “A lot of it is just a matter of accessibility. A focus on plot and character rather than structure and the prose itself.”
Probably the biggest literary debut the week is Arthur Phillips’ The Tragedy of Arthur, a faux memoir about the surfacing of a long-lost Shakespeare play. Also out this week is the first book from former Soft Skull head Richard Nash’s new venture Red Lemonade: Lynne Tillman’s Someday This Will Be Funny. And, finally, now out in paperback is Aimee Bender’s The Particular Sadness of Lemon Cake. (Our two reviews)
It’s not every day that fans of a novel look forward to a Lifetime movie, but such is the case for fans of Flowers in the Attic, whose 1987 film adaptation left out many of the details that made the book a “rite of passage for teenage girls in the ‘80s.” At Slate, Tammy Oler delves into the book’s importance and its history on the screen.
New this week stateside is buzzed-about Booker shortlister Room by Emma Donoghue. Also out: Gold Boy, Emerald Girl, a new collection by “20 Under 40” lister Yiyun Li; Sigrid Nunez’s post-apocalyptic Salvation City; and a McSweeney’s-published memoir Half a Life by Chang and Eng author Darin Strauss.
Writers of facial stage direction, beware: it is not actually the epitome of irony that smiling and crying can seem so oddly similar. At Aeon, Princeton professor Michael Graziono argues that the seemingly opposite gestures may just share evolutionary origins. (Pair with: Darwinist theories about “the evolution of the novel.”)