Fans of British comedic polymath and Apple fanboy Stephen Fry might be interested to know that the first season of Kingdom, Fry’s recent three-season British television series is available on Hulu. (Seasons 2 and; 3 are available on DVD in the US, but Season 1, mystifyingly, is not.) The series follows the doings of empathetic, small town Norfolk solicitor Peter Kingdom (Fry) and his gently eccentric fellow residents of the seaside town of Market Shipborough (actually Wells-Next-the-Sea). It’s soothing, cozy stuff.
Tomorrow the Root is launching its short story fiction section, ‘It’s Lit’. If you are a black writer you have a chance to be featured as long as your story is less than 10,000 words. If your story is chosen to be featured you receive $200. Submit your short story here.
Another big week for books is headlined by Michael Chabon’s Telegraph Avenue (the book’s opening lines) and Junot Díaz’s This Is How You Lose Her. Also out are Susan Straight’s Between Heaven and Here, touted debuts The People of Forever Are Not Afraid by Shani Boianjiu and The Yellow Birds by Kevin Powers, How Music Works by Talking Heads frontman David Byrne, and Bob Woodward’s latest Beltway tick-tock The Price of Politics.
To kick off 2010, we at The Millions are thrilled to announce that Emily St. John Mandel has joined us as a regular contributor. Emily lives in Brooklyn. Her first novel, Last Night In Montreal, was recently published by Unbridled Books; her second novel, The Singer’s Gun, will be published by the same press in May 2010. Her pieces for The Millions are collected here. Welcome Emily!
In 1913, four years before the Russian Revolution, Tsar Nicholas II made the now-baffling claim that a writer named Teffi was the only major Russian writer. At the time, however, his endorsement made sense, because everybody in Russia, from royalty on down, read Teffi’s work and “delighted” in it. Until the revolution, at which point she was consigned to oblivion. William Grimes writes about a new collection of her stories.
It’s the kind of niggling question that drives a writer mad: is it best to edit a piece after you finish a draft, or is it better to edit while you write? At Electric Lit, Lincoln Michel argues for the latter, on the grounds that it lets writers fix endemic problems before it’s too late. You could also read Lincoln’s 2010 Millions review of the movie Avatar.