Our staff writer Nick Ripatrazone has published two books in the last year – the short story collection Good People and the novella We Will Listen For You – and both have recently been reviewed in New Jersey papers, which agree that the books are “an invitation to look beyond the stone walls of churches and gape in wonder at the world and the unknowable vistas beyond.” Pair with Nick’s ever-relevant essays on teaching English and becoming a writer, not a priest.
The internet has allowed self-publishing to become tremendously popular, but writers have been limited in their ability to create custom designed books. A new site called Blurb is offering book creation software that allows you to build your own book. Then they print it for you. It’s meant for creating a one off gift or keepsake, and the prices seem somewhat steep, but it’s probably better than what you would get from a professional print shop.The Bookfinder.com Journal discusses the US Copyright Office’s new report on orphan works (“Orphan works are copyrighted materials whose owners are difficult or impossible to locate, meaning they can no longer be purchased, reprinted, cited at length, or otherwise built upon. Books can get ‘orphaned’ for all sorts of reasons.”) New rules will hopefully make it easier to republish out of print work that has disappeared because copyright holders cannot be found.The Baltimore Sun reports on a man who tried to build his book collection by checking out more than 402 books on as many as 10 different library cards. The fine? Three years in prison.
Half of all restaurants that open close,” WORD owner Christine Onorati says. On the other hand, Red Lemonade publisher Richard Nash hopes former Borders employees can find ways to continue “operating as the matchmakers of the book ecosystem.”
Anna Sun profiles the work of Mo Yan, the latest winner of the Nobel Prize for literature. While Sun acknowledges Yan’s popularity and prolific output, she also notes that what the Nobel committee referred to as “hallucinatory prose” is more often than not “repetitive, predictable, coarse, and mostly devoid of aesthetic value.” Indeed, Sun writes, “the English translations of Mo Yan’s novels … are in fact superior to the original.” [Ed. Note: It appears the Kenyon Review link was briefly not working; this Google cache may work better — h/t Dan Farrely]