J.D. Salinger‘s house is on the market and generating plenty of buzz, but before you make an offer consider “what does it mean to want to live in a dead writer’s house? When does fandom devolve into idolatry?”
The Dead Author’s Home
Kristen Arnett’s Refrigerated Abyss
Kristen Arnett takes the Paris Review on a tour of the abyss—the abyss of her beer-and-pizza-roll-stocked refrigerator, that is.
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The Vampire Diaries
“Charles Dickens had orphanages and workhouses, the Brontë sisters had the wild moors, and modern writers have high school.” So begins L.A. Times television critic Mary McNamara‘s take on The Vampire Diaries, the CW’s answer to Twilight (premiering tonight at 8). The show is loosely based on L.J. Smith‘s books of the same name and McNamara gives it a qualified thumbs up. She concludes that this latest addition to the vampire canon is “pure froth, but it is very welcome froth, especially in a genre that seems sometimes in danger of taking itself a little too seriously.”
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Twitter Bird Flu
Hypochondriacs rejoice! A team of scientists from the University of Rochester is working on a “machine-based algorithm” in the same vein as Google Flu Trends—but this time based on Twitter and smart phone data—to predict, with about 90% accuracy, when you’ll next get sick.
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Much Better Than Downton Abbey, I Promise.
When you woke up this morning, did you say to yourself, “I wish I could listen to a bunch of lectures from the University of Texas’ British Studies curriculum?” If so, you’re in luck.
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Another Launch from Flatmancrooked
Starting today, you can launch occasional Millions writer James Kaelan and his book, We’re Getting On, a “composite novel” (made up of two stories and two novellas, all thematically linked). And because this is part of his Zero-Emissions Book Project, Kaelan will promote his book by bike on a cross-country reading tour.
A Guide to a Guide
A few days ago, our own Edan Lepucki talked shop with Millions contributor Ramona Ausubel, whose new collection, A Guide to Being Born, came out last month. Now, at Full-Stop, Emily Oppenheimer reviews the book, which she says refuses to “make use of the obvious perspective.”
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