To encourage first edition sales of Haruki Murakami’s latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage, his publishers are going to include “a special sheet of stickers designed by five Japanese illustrators.” If that sounds as corny to you as it does to me, then consider the fact that the book likely does not need any real marketing strategy whatsoever: when it came out in Japan, it sold over a million copies per week.
In October 2011, Hannah Gersen convincingly argued that the Occupy Wall Street protests bore more than a few similarities to Bartleby, The Scrivener. Now, amid the political demonstrations going on throughout Turkey, Millions contributor Kaya Genç draws a similar parallel between Istanbul’s “Standing Man” and Herman Melville’s famous protagonist.
At 1,700 words, J.K. Rowling’s new “History of the Quidditch World Cup” may not be as daunting a read as J.R.R Tolkien’s The Silmarillion, but what it lacks in length it makes up for in its appeal to ardent fans. At Slate, a brief look at the Wizarding World’s latest reference book.
It goes without saying that Hitler is a taboo subject in Germany, which is why it’s remarkable that a German novelist, Timur Vermes, has caused a sensation with his book about a time-travelling Fuhrer. In the Times, Janet Maslin reviews the first English translation of Look Who’s Back. You could also read Merve Emre on Ben Urwand’s book about Hollywood and the Nazis.
“At first I had three [children], because I think we need to be outnumbered. It’s good for them. That was my plan when I had three children.” Sit down with Karl Ove Knausgaard as he drives his daughter home. Jonathan Callahan reflects on how Knausgaard’s writing consumes him.
It’s about an hour away from 5 o’clock over here, so that gives you plenty of time to read Chris Newgent’s “No-Bull Bourbon Review” on Hobart’s website. “A true bourbon,” Newgent writes, “is a bourbon with a story worth remembering.” Agreed. And so would Walker Percy.
Nowadays, we take it as a given that Tolstoy’s fame was guaranteed by his talent, but many of his contemporaries thought he’d never get a readership outside his native Russia. Why? His writing, as Rosamund Bartlett puts it in a comparison with Turgenev, was “unpolished, more uncompromising and altogether more Russian” than his peers’. If you generally prefer Dostoevsky, you’ll appreciate our survey of scholars on which author was greater. (h/t Arts and Letters Daily)