Heading to London in the near future? Stop by the British Library’s new Terror and Wonder, which bills itself as the UK’s biggest Gothic exhibition in history. To whet your appetite, you can read this Guardian piece by Neil Gaiman, in which the Sandman author names Mary Shelley’s Frankenstein the apex of Gothic fiction. Related: our own Hannah Gersen on Frankenstein and the “Year Without a Summer.”
If you’re struggling to find a book deal, you might want to skip this story because it’ll be so demoralizing: a group of women are making a ton of money by publishing “dinosaur erotica” with titles such as Taken by the T-Rex, Ravished by the Triceratops, and Taken by the Pterodactyl. (Pretty lame, if you ask me, that that last title isn’t spelled “Ptaken…”)
“The idea came to Mr. Mallory one night as he sat on his couch watching an old favorite, Hitchcock’s Rear Window. Out of the corner of his eye, he noticed a lamp switch on in the apartment across the street.” Published under a pseudonym, former executive editor Daniel Mallory‘s debut novel The Woman in the Window was acquired and published by his own imprint. Pair with: an essay about the emergence of “reimagined thrillers” that create characters out of setting.
“But was I actually reading? I regarded myself as a reader, but were these really books?” In LitHub, James Tate Hill pens an essay about reading while visually impaired and the questions it raises in a print book obsessed world. Pair with: our own Bill Morris on hearing an actor narrate his novel’s audiobook.
In 1977-1978, a public access TV show called Public Access Poetry featured leading poets from across the country (Ted Berrigan, Ron Padgett, Eileen Myles, John Yau, Brad Gooch). Thirty-one episodes are now online, but the Poetry Project at St. Mark’s is seeking funding to post the remaining fifteen reels.