Recommended Reading: Cody Delistraty’s interview with Kazuo Ishiguro. You could also read our own Lydia Kiesling on the author’s new novel The Buried Giant.
Secret Machines
Atwood in the Twittersphere
I dare you not to be charmed by Margaret Atwood’s account of becoming a Twitter user. “Despite their sometimes strange appearances, I’m well pleased with my followers.” (via kottke)
The Captain’s Doll
German-born footballer Bastian Schweinsteiger might just be living inside the D.H. Lawrence story, “The Captain’s Doll”. Schweinsteiger (who, it is helpful to mention, is the captain of his team) is suing a Chinese toy manufacturer for producing a doll that bears too striking a resemblance to the Manchester United midfielder. Oh, and did we mention that the “figurine” is also wearing a Nazi medal?
●
●
“This Website is Pretty Good…”
I had no idea Kanye read The Millions. Apparently, he’s not that impressed by our recent comments about him.
I Don’t Want to Be the One Onstage
“Stop / fucking posting about / Klonopin, or cutting yourself / or throwing up—Save it / for a shitty poem like a normal / wretch.” On the anger and joy of Tommy Pico, a Native-American poet in Brooklyn, over at The New Yorker.
My Struggle Continues
Ben Parker has published a review in The Los Angeles Review of Books of Karl Ove Knausgaard’s My Struggle: Book Four, which was recently translated by Don Bartlett. Read Knausgaard’s thoughts on repetition and its reflections in the natural world at The Millions.
●
●
One Book, Two Covers
“What do these two books have in common?…Open each cover and you will only find similarities: They are the same book.” For The Globe and Mail, our own Claire Cameron writes about one book being marketed with two different covers and titles to appeal to different audiences. Pair with: an essay about book covers featuring headless, backless women, and another on the beauty of typewritten book covers.
Geoff Dyer on Pagetti’s Syria
The devastating images of Syria shot by Franco Pagetti have been collected into a series entitled Veiled Aleppo. Over at The New Republic, Geoff Dyer writes about one of them. It’s an image, Dyer observes, that features “symbols … of the death throes not of a city but of film.”
●
●