Recommended Reading: The Paris Review has put its Zadie Smith short story “Miss Adele Amidst the Corsets” online. “New York just expects so much from a girl—acts like it can’t stand even the idea of a wasted talent or opportunity. And Miss Adele had been around.”
What’s more staggering: the fact that After, a 25-year-old Texan’s “erotic One Direction fan fiction,” has been “read” online more than 800 million times, or the fact that Simon & Schuster has decided to pay “a six figure advance” for its publication rights? Oh, and there’s more. Billboard reports that United Talent Agency is “shopping the film rights as well.”
We’ve written about the newly published Laura Ingalls Wilder memoir several times, but a new review in the LA Times calls attention to one of the most interesting questions raised by the work: how much influence did Wilder’s daughter Rose Wilder Lane, an accomplished author in her own right, have on the final Little House books?
“The Laughing Monsters is, ultimately, about reality, myth, and outright lies. Johnson has always been interested in those moments when the thin skin of the world breaks and we are ushered, unprepared, into another realm.” Stav Sherez reviews Denis Johnson‘s The Laughing Monsters (which we listed in our Second-Half 2014 book preview) and considers the modern spy thriller for the Los Angeles Review of Books.
Two weeks ago, the Internet Gods (meaning: the Unicode 7.0 update) gave us hundreds of new emoji symbols, including the middle finger and peace dove. By now our emoji usage patterns can be used by psychologists to understand our minds. “People who use no noses tend to be tweeting more about… Justin Bieber. They have younger interests, younger concerns, whether or not they’re younger.”
“Kill ‘Em and Leave is [James] McBride’s own testament to [James] Brown’s philosophy. It’s a stunningly unorthodox book, indifferent to the conventions of biographical nonfiction … The book is a hybrid of forms, largely a telling of Brown’s life story and partly a telling of McBride’s search for that story, with digressions about the author’s own life, essayistic ruminations on Brown and his music, and free, looping riffs that have the energy of improvisation.” On James McBride’s unusual, unorthodox biography of the unusual, unorthodox James Brown.