Following last year’s Pulitzer Prize, which Donna Tartt won for her first novel in eleven years, it means something when a critic draws a favorable comparison between The Goldfinch and a new book. For Laura Miller, though, it’s a natural reaction to the latest from Sarah Waters, which seems poised to “scratch the same big-novel itch” as Tartt’s novel did last year. (FYI, Sarah Waters wrote a Year in Reading entry for The Millions.)
For everyone who likes typography and arguments, New York Magazine has a story up that covers the type designers Jonathan Hoefler and Tobias Frere-Jones and follows the pair through their success to their ultimate rift. For those who prefer debates with more immediate impact, Mental Floss has a breakdown of the best shots fired in the fight over the Oxford Comma.
Here are a couple Halloween-related essays from the good people at The Literary Hub: This fascinating literary history of witches by Jess Bergman, and this piece by Tobias Carroll on non-fiction writers crossing the supernatural line between fantasy and reality.
Have you ever wondered what The Great Gatsby would sound like? Designer Vladimir V. Kuchinov made The Generative Gatsby, a book that features typography based on famous 1920s jazz songs. “The following work is a visual experiment, a study of how music of this era, its rhythms, syncopations and patterns could alter prose to a new typographic frontiers keeping content legible as it could be,” he writes on his website.