Elmore Leonard was a very cinematic writer, yet why are most adaptations of his work so bad? Christopher Orr explores what he calls the “Elmore Leonard paradox” in The Atlantic. “Most of the early adaptations of Leonard’s crime work missed his light authorial touch, opting instead for somber noir.” Pair with: Our own Bill Morris’s essay on why Leonard was such a good writer.
At The New Yorker, Meghan O’Rourke lyrically reviews Anne Carson’s latest work Nox: “Grief is paradoxical … The literature of mourning enacts that dilemma; its solace is mainly in the ritual of remembering the dead and then saying, There is no solace and also, This has been going on a long time.”
From the Paris Review, a small selection of Victor Hugo‘s four thousand drawings.