Neil Gaiman’s newest graphic novel isn’t even out yet, but it already has a movie deal. His update on the Brothers Grimm fairytale Hansel and Gretel with illustrations by Lorenzo Mattotti comes out on October 28, and Juliet Blake is developing a live action version. Hopefully, it’s better than Hansel & Gretel: Witch Hunters.
Beyoncé’s visual album/phenomenon Lemonade has only been out for a few days and already it has spawned countless thinkpieces. One of the best and most inspiring things to come out of it has been the #LemonadeSyllabus hashtag, popularized by Rutgers University educator Candace Benbow. The series “encourages Black women to share curated reading lists of books, poems and other inspirational literature penned by Black female authors that celebrate every aspect of what it means to be a Black woman.”
“We don’t have to look at Iraq for an analogue to Missouri,” writes Elif Batuman. “We can look instead at Missouri, or elsewhere in the United States.” Indeed for many ordinary Americans, as Jabari Asim echoes in his poem inspired by the recent events in Ferguson, “It’s more than time we had that talk / about what to say and where to walk, / how to act and how to strive, / how to be upright and stay alive.”
At least two people were not pleased with John Jeremiah Sullivan’s recent cover story in the New York Times Magazine. In a letter to the New York Observer (and an expanded post on Google+), Susannah McCormick – daughter of renowned music historian Robert “Mack” McCormick – alleges that Sullivan and his research assistant “glibly” stole her father’s research in an act of “quasi theft.” In his response, Sullivan asserts that, “by hiding L. V. Thomas’s voice, by refusing for over half a century to credit or even so much as name the two singers who created those recordings while they or their contemporaries were alive, Mack McCormick committed a theft—through negligence or writer’s block or whatever reasons of his own—far graver than my citation of interviews L.V. granted him decades ago.”
Mark Twain first rose to fame as the author of an essay about a frog-jumping contest in California. Originally titled “Jim Smiley and His Jumping Frog,” the essay went viral in America’s biggest newspapers, eventually inspiring the New York Tribune to write of Twain that “no reputation was ever so rapidly won.” Yet the humor which made the essay so popular is often lost on modern audiences, in no small part because, as Ben Turnoff writes in Lapham’s Quarterly, frontier humor isn’t funny if there’s no Wild West.
October kicks off with a mega-dose of new fiction: Ancient Light by John Banville, The Round House by Louise Erdrich, It’s Fine By Me by Per Petterson, The Heart Broke In by James Meek, In Sunlight and in Shadow by Mark Helprin, Live by Night by Dennis Lehane, and Have You Seen Marie? by Sandra Cisneros. And that doesn’t even include debuts Mr. Penumbra’s 24-Hour Bookstore by Robin Sloan, That’s Not a Feeling by Dan Josefson, and Safe As Houses by Marie-Helene Bertino. And there’s more: graphic novel master Chris Ware’s Building Stories, The Paris Review’s collection Object Lessons (we interviewed one of the Steins behind the book) and this year’s Best American Short Stories collection. Finally, Kingsley Amis’s Lucky Jim is out in a new NYRB Classics edition with an introduction by Keith Gessen.
Edith Wharton is known as a novelist but she was also a wonderful hostess, whose guests (including Henry James) remember her as “kindness and hospitality incarnate.” Kate Bolick has turned Wharton’s life-long attempt to master “the complex art of civilized living” into an entertaining guide, “The Guesthouse of Mirth,” just in time for those last few summer parties. Pair with Roxana Robinson‘s reflections on Wharton’s life and works, including the original The House of Mirth.