Olsson’s, a small chain that was an old standby among Washington D.C. independent bookstores, is likely to file for bankruptcy. It was the stores’ ample music sections and gentrification that contributed most to its downfall. “‘The book business is getting a little soft. It’s not selling as much as it used to,’ Olsson said. ‘Our music sales went from 50 percent of our business to maybe 15. We lost a lot of revenue, and at the same time rents went up and real estate taxes went up. I don’t know what we would have done differently. It’s a killer.'”The linguistic capabilities of modern world leaders. Well done, Pope, well done.For those whose fantasies involve real estate: Private Islands for SaleAnd a pair of audio items:Nam Le’s The Boat is getting rave reviews. Here he visits The Leonard Lopate Show.Garth covered the PEN World Voices Tribute to Robert Walser. Interested readers can now listen to the entire event.
“If Gothic literature had a family tree, its twisted gnarled branches chock-full of imperiled, swooning heroines and mysterious monks, with ghosts who sit light on the branches, and Frankenstein’s monster who sits heavy, with troops of dwarves, and winking nuns, and stunted, mostly nonflammable babies, at its base would sit Horace Walpole’s The Castle of Otranto.” Carrie Frye writes for Longreads about the history and personality behind the first Gothic novel, which turns 250 this year.
“Writing about film applies pressure to how ekphrastic writing can be possible, let alone evocative–and further, highlights questions that pertain to all kinds of writing, from honing poetic imagery to composing entire fictive worlds: how can writing engage or transform the fidelity of its subject(s)? How do you write about something so simultaneously ephemeral and fabricated, and yet intuitively, enduringly ‘real’?” For Ploughshares, Veronica Fitzpatrick on writing about film. Pair with this Millions piece on literary magazines in film and TV.