Parks and Recreation star Amy Poehler has a new book on shelves this week, as does William Gibson. Also out: The Book of Strange New Things by Michel Faber; Hiding in Plain Sight by Nuruddin Farah; a new collection of Maeve Binchy’s Irish Times columns; and a hardcover compilation of entries in the NYT’s By the book series. For more on these and other new titles, check out our Great Second-half 2014 Book Preview.
Michael Ondaatje’s The English Patient won the Golden Man Booker Prize, the one-off award celebrating the best work of fiction from the last five decades of the prize. About the prize, Ondaatje said “I wish in fact that those of us on this Man Booker list had been invited to propose and speak about what we felt were the overlooked classics—in order to enlarge what ought to be read, as opposed to relying on the usual suspects.” Read the rest of his illuminating and gracious speech over at Literary Hub.
“Ocean Vuong is that rare architect of accommodation, giving the most precarious situations or embarrassing of grievances of our culture a sound environment in which they can thrive. As he kisses and tucks the parents in their beds, he sets out from the wreckage of his past towards a hard-won horizon of blunder and wonderment.” Jeff Nguyen reviews Vuong’s newest poetry collection, Night Sky With Exit Wounds.
A couple years ago, Robert Birnbaum interviewed Edith Pearlman for The Millions, asking why the highly regarded short story writer didn’t hit it big until recently. Now, in the Times, Laura van den Berg reads Pearlman’s book Honeydew, in a piece that nicely complements Steve Almond’s profile of the author. FYI, Laura van den Berg has written for us.
Two ways of looking at a book: “Had I been still more articulate, I might have said that there’s a special readerly pleasure in approaching a book as you would a box. In its self-containment lies its ferocious magic; you can see everything it holds, and yet its meagre, often hackneyed contents have a way of engineering fresh, refined, resourceful patterns. And Emily might have replied that she comes to a book as to a keyhole: you observe some of the characters’ movements, you hear a little of their dialogue, but then they step outside your limited purview. They have a reality that outreaches the borders of the page.”