Francine Prose has a new novel out this week, while Elizabeth McCracken has a new story collection on shelves. Also out: Chestnut Street by the late Maeve Binchy; In the Light of What We Know by Zia Haider Rahman; Terms and Conditions by Robert Glancy; The Selected Letters of Elia Kazan; and new paperback editions of The Color Master by Aimee Bender and The Infatuations by Javier Marias.
Tuesday New Release Day: Prose; McCracken; Binchy; Rahman; Glancy; Bender; Marias
One After the Other
It’s been seventeen years since Judy Blume published a book for adult readers. Her latest, In the Unlikely Event, brings that streak to an end. In the Times, Caroline Leavitt reviews her new book, which depicts a small town in the fifties reeling in the wake of three consecutive plane crashes. FYI, our own Lydia Kiesling wrote an essay on Blume’s book Forever.
To Kill a Mockingbird on Broadway
Aaron Sorkin is writing the first Broadway production of Harper Lee’s To Kill a Mockingbird. To prepare, Michael Bourne’s essay introduces us to the real Atticus Finch.
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Marlon James Reads
Recommended listening: Marlon James reads an excerpt from his new book, A Brief History of Seven Killings, which was included in our most recent Book Preview. Pair with The New York Time‘s review of the novel.
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Coates: A Public Intellectual
The New York Times profiles MacArthur Genius and National Book Award winner Ta-Nehisi Coates as one of America’s foremost public intellectuals. His book We Were Eight Years in Power: An American Tragedy (which we have been anticipating for months) is released this Tuesday.
Ottessa Moshfegh on Imagination in Isolation
Ottessa Moshfegh's new book, Death in Her Hands, follows Vesta, a woman whose isolation takes on new significance in today's quarantined climate.
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Back in the High Life Again
Self-styled music critic Patrick Bateman, the protagonist of Bret Easton Ellis’s 1991 novel American Psycho, certainly had a lot to say about 80s mainstays like Genesis and Huey Lewis and the News. Over at The New Inquiry, J. Temperance argues for Steve Winwood as Patrick Bateman’s musical doppelgänger. Go ahead and take a look at this essay by Bill Morris of The Millions on The Canyons, a film for which Ellis wrote the screenplay.
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