When Vladimir Nabokov developed a screen adaptation for Lolita, his director Stanley Kubrick declared it the “best ever written in Hollywood”–meaning, it seems, most gorgeously novelistic, evocative, readable. Here’s a short excerpt of his screenplay with original margin notes.
Christine Sismondo believes bars deserve more credit for “produc[ing] a particular type of public sphere in colonial America.” She discusses her new book America Walks Into a Bar with The Smithsonian’s Rebecca Dalzell.
“I’ve been hailed as a hero (hipster poets love me), gotten the rock star reception (by research librarians), and been dismissed with derision, thought possibly to be deranged,” says Jon Danzinger. So what’s his job, you might ask? He’s a researcher for the Oxford English Dictionary.
The folks at The New Yorker’s Book Bench offer their take at The Late American Novel: Writers on the Future of Books. (Spoiler Alert: Katherine Hepburn gets a shoutout.)
David Roberts spent 12 hours in front of a screen everyday, frequently hit the daily tweet limit, and saw “every sunset as a potential Instagram.” So he decided to quit the internet for a year and lived to tell the tale for Outside. Yet disconnecting isn’t as easy as signing off Twitter. “One striking feature of the digital-self-help literature is that it treats distraction, overload, and frazzlement almost entirely as personal challenges. If you’re stressed out and unable to concentrate, you’re not enlightened enough. Meditate harder.” Pair with: What’s it like to be from the last generation to remember life before the internet and our own Edan Lepucki’s (slightly shorter) social media detox.
Lorrie Moore, who we profiled yesterday, has a new story collection on shelves this week. Also out: Kinder Than Solitude by Yiyun Li; What’s Important is Feeling by Adam Wilson; Wonderkid by Wesley Stace; and MFA vs. NYC, a new essay collection (spun off from an n+1 piece) edited by Chad Harbach.