A couple weeks ago, I recommended that budding Randians read this self-edifying excerpt, taken from Ayn Rand’s version of Harry Potter and the Half-Blood Prince. Now, Rand has penned her own version of You’ve Got Mail, again kindly published by Mallory Ortberg.
At The Rumpus, Shawn Andrew Mitchell reviews Dark Lies the Island, the new short story collection by the Irish writer Kevin Barry. Mitchell quotes a number of the book’s more interesting idioms and perceives “an impolitic decadence to how Barry couples his words.” (Related: we interviewed Barry a few weeks ago.)
The true story of the Whaleship Essex – which was deftly recounted in Nathaniel Philbrick’s 2000 book In the Heart of the Sea – will soon be adapted into a 90-minute documentary for the BBC. As avid whale watchers already know, the plight of the Essex is what ultimately inspired Herman Melville to write Moby-Dick. You can get an overview of the disaster at Melville House’s blog, Moby Lives. (How appropriate!)
Out this week: The Goldfinch by Donna Tartt (who Angela Qian wrote about for The Millions in September); We Are Water by Wally Lamb; Aimless Love: New and Selected Poems by Billy Collins; Roth Unbound: A Writer and His Books by Claudia Roth Pierpont; and The Eternal Wonder, a recently discovered novel by Nobel laureate Pearl S. Buck. For more on these and other new books, check out our Great Second-half 2013 Book Preview.
“I have yet to publish a book. The reason for that is, in part, life gets in the way. There’s work and love and art and art usually comes last, (especially for we women writers). But for me, part of what weighs art down and keeps it in last place is overwhelming self-doubt.” In an essay for Electric Literature Lindsay Merbaum writes about writing, a crippling lack of confidence, and the connection between the two. Also included: that defining moment “when I first realized I was not The Shit.”
E. V. De Cleyre explores the right moment to end a nonfiction story. She writes that life rarely offers conclusions, and “dealing with actual occurrences often means there is no definitive end, and even if there were (such as a death), there comes the aftermath—the grief, the coping, the rebuilding.” Pair with Sonya Chung’s Millions essay on literary endings.