Something to do with those last remaining days of vacation: go on a national indie bookstore tour, as designed by Chin Music Press.
In theory, the author of a great novel is invisible to the reader, letting her stories and characters speak for themselves. In practice, however, it can help for an author to make herself known, as explained by Tim Parks in this essay. Sample quote: “We have the impression that if someone ever did find the full story of his life, we would immediately recognize the person we had in mind.”
Out this week: Fortune Smiles by Adam Johnson; Eileen by Ottessa Moshfegh; A Manual for Cleaning Women by Lucia Berlin; The Incarnations by Susan Barker; The Automobile Club of Egypt by Alaa Al Aswany; Darkness the Color of Snow by Thomas Cobb; The Investigation by J.M. Lee; and Browsings by the Washington Post critic Michael Dirda. For more on these and other new titles, check out our Great Second-Half 2015 Book Preview.
“This is minor, but I noticed a few typos. For instance, at various points on pages 144 through 148 and also on page 202, you wrote, ‘All wokr and no play makes Jack a dull boy.’ And on page 308, it’s ‘All work and no play makes Jack a dull Jack.’ If that one’s intentional, it provides a nice break from the preceding 307 pages, and the levity is a nice contrast to the monotony.” Notes on a Jack Torrance manuscript.
Editing poetry can be tricky, and the work is often misunderstood. Many of the best houses leave the work to the experts: actual poets. But is that the best route? Indeed, as this Telegraph article puts it, "a house’s tone and fortunes can be radically altered depending on the poet in charge of the poems of others."