Out this week: I Am Radar by Reif Larsen; Discontent and Its Civilizations by Mohsin Hamid; Bitter Eden by Tatamkhulu Afrika; Wonderkid by Wesley Stace; and Lucky Alan, a new story collection by Jonathan Lethem. For more on these and other new titles, check out our Great 2015 Book Preview.
Tuesday New Release Day: Larsen; Hamid; Afrika; Stace; Lethem
Such a Disappointment
Among the better tidbits from Gary Shteyngart’s diary of his book tour for Little Failure is the fact that he’s apparently had fellow Russian immigrants ask him to sign books for “a failed paralegal” and “a worse failure than even you.” If, after reading that, you’d like another dose of Shteyngart, you could do worse than his Year in Reading entry.
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Kafka’s last living friend remembers
Alice Herz-Sommer, a 106-year-old Holocaust survivor and the last living person who knew Franz Kafka personally, reminisces about her friend in the Israeli newspaper Haaretz: “Kafka was a slightly strange man…”
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It’s Not TV, It’s Jonathan Franzen.
To celebrate the official HBO adaptation of Jonathan Franzen‘s The Corrections, The New Yorker has compiled a list of “Franzen Facts.”
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A6: Edith Wharton
At some point, you’ve probably had a daydream about a vending machine that sells books. Well, guess what. (There’s also a video guide.) (Thanks, Andrew)
Mixer’s Sex, Violence, & Satire Contest Extended
Mixer Publishing wants more of your sex, violence, and satire. They’ve just extended their contest deadline–for fiction, poetry, and graphic stories–to the end of the month, which gives you a few more weeks to conjure and submit satirical lust and gore for a chance to win their $1,000 prize.
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Braving the Bestsellers
Canonical literature isn’t the only way to learn about America. The bestseller list can be equally as telling. Matthew Kahn is reading 100 years of No. 1 bestsellers from 1913 to 2013. He blogs about the books and discusses the project in an interview with Salon’s Laura Miller. When Miller asks what makes a bestseller, he claims, “A lot of it is just a matter of accessibility. A focus on plot and character rather than structure and the prose itself.”
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