Here at The Millions, we know the importance of a book’s cover (for evidence see here, here, here and here), so Margaret Sullivan‘s new project, Jane Austen Cover to Cover, has our attention. A sample of covers for Emma, available on The Paris Review‘s blog, “provides a fascinating glimpse into a variety of publishing cultures, and it reminds that even our classics are mutable, pitched to appeal to any number of sensibilities, their literary status in constant flux per the dictates of the market.”
With the help of Our Final Hour author Martin Rees, Cambridge will soon open a Centre for the Study of Existential Risk. The Centre will investigate the threats posed by “artificial intelligence, climate change, nuclear war and rogue biotechnology.” To my ears, this sounds an awful lot like Oxford’s Future of Humanity Institute, which was memorably depicted in John Jeremiah Sullivan’s “Violence of the Lambs.”
"We believe in the digital with abandon. So when something of artisanal quality is placed in our hands, or we see something hanging on a wall drawn by an actual hand, we feel a little shock. We remember how to feel something. Maybe not quite an emotion, but the touch of paper does something to us. We use our senses again." Celebrating fifty years of the French publisher L’école des Loisirs, Gnaomi Siemens reflects on the power of hand-drawn images and the future of the book.
Recommended Reading: Michael J. Avogino's "Total Utter Madness: A Story of Soccer" from the Tin House archives. If you're going to watch soccer all day, might as well throw some good writing in there too, right? An example: "Life would go on, as would the sport of soccer and all that came with it: the brotherhood, the ethnocentricity, the sportsmanship, the nationalism, the love, the regionalism, the racism, class conflict, the sublime, the nonsensical, amongst white, black, brown, Protestant, Catholic, Muslim, Jew, everyone guilty and innocent."