“For obit writers, the whole world is necessarily divided into the dead and the pre-dead. That’s all there is.” The Paris Review interviews Margalit Fox, a senior writer for The New York Times, on the complicated art of obituaries.
The “Bloggies” are back. Looking at this year’s nominees, our thoughts from last year still hold true.We try not to rag on the NBCC too much around here, but inadvertently giving your big book recommending initiative the same name as a wildly popular reading-focused social network just smacks of cluelessness.People are still ripping on litblogs. This time, it’s Bud eloquently defending our honor.The New Yorker has presented its portfolio of winners in its contest to “redefine Eustace Tilley,” the magazine’s dapper icon.Free, downloadable mini-books from Chicago’s Featherproof BooksDoes Malcolm Gladwell’s The Tipping Point hold up in the real world? Not exactly.FSG’s Lorin Stein reviews Norman Rush’s Mortals: “the most brilliant book of the new century [maybe].”Granta’s 100th issue (congrats!) is here. William Boyd’s introduction offers up some history on the magazine.Just in time for “Super Tuesday,” Michael Chabon throws his hat in the ring for ObamaAttention “Oregon Trail” fans, outdoor equipment company Thule offers a goofy remake of the game. Ah, advertainment. (via)Finally, an important question, answered.
With news of this year’s winner fresh off the press, it’s easy to see how the Literary Review’s “Bad Sex Awards” are an annual delight to many readers (as well as an annual horror to several authors). But are they also counter-productive? As one former “winner” of the award asks, is the Bad Sex Award “anything more than a sort of moral outrage dressed up as a quest for high standards in writing?”
Still deciding what to do this Friday night? Watch PBS’s new documentary on Alice Walker, Alice Walker: Beauty in Truth, at 9 p.m. EST. At The Daily Beast, Agunda Okeyo discusses the history of the film’s production, which took six years. “Stories about women of color told by women of color are sidelined and neglected in favor of our stories being told by white women and men,” director Pratibha Parmar says.