Now that the summer blockbusters are winding now, we can all focus on book-to-film adaptations. Kirkus Reviews has a list of new books that would make for great movies, some of which, like Christopher Beha‘s Arts & Entertainments, The Millions has reviewed. Pair with our dream casting of a film version of The Goldfinch.
New Books and Great Movies
Dog Eat Dog
“I haven’t been able to write since the moment I started thinking I could or should be making money as a writer.” Meritt Tierce with a refreshingly candid piece on writer’s block and how success doesn’t always negative the likelihood of failure.
●
●
Meta-Dialogue
The terrific Gary Amdahl (Visigoth, I Am Death), talks shop with A Public Space.
Whose Hasn’t?
Sergey Stefanovich’s “The Library” takes viewers through Duncan Fallowell’s library “which has spilled over into every available space and become an art installation in its own right.”
●
●
The Museum That Was Written Down
The fictional museum described by Orhan Pamuk in his novel The Museum of Innocence has been made into a real museum in Istanbul: “…the line between fiction and reality is both highlighted and blurred.” (via Book Bench)
●
●
Big Name Fan(fiction)
“On one occasion, my brother had looked over my shoulder, shuddered, and announced to my mother and father that I was reading porn. ‘No, I’m not!’ I replied, but he was right in a way.” Harry/Draco? Ron x Hermione? Confessions of a fanfiction addict.
●
●
Invisible Translators
“One is less likely to overlook or be unfairly harsh to a translator if one has been a translator, and one is less likely to fault an original writer for weaknesses in translated prose or poetry if one has a sense of the pitfalls into which a translator can stumble—a sense I am still developing after years of translating poetry and prose.” Over at Asymptote Journal, Sue Burke and Maia Evrona look at reviews of books in translation.
●
●
A Shape-Shifting Body
Over at The New Yorker, Hilton Als writes about Beyoncé’s Lemonade, Prince, Cecil Taylor, Octavia Butler, and time travel. He writes, “Toward the end of the film, [Beyoncé] moves further back into the past and examines her roots, we see any number of sharply dressed women sitting in the natural world, talking among themselves. This will remind readers of that extraordinary scene in Beloved, when the elder commands those who have gathered in a clearing to love their hands, themselves—because if they don’t, who will?”
One comment: