Wolf Hall, you may have heard, is now a TV show, which you can watch on PBS (in the US) and BBC Two (in the UK). Is it good? According to Sonia Saraiya, the adaptation of Hilary Mantel’s novel is eminently worth watching, “a rare adaptation from book to screen that makes the most of what the visual medium can provide.” You could also read our interview with Mantel.
Over at The Paris Review, Hannah Tennant-Moore defends the merits of disturbing literature. We are fascinated with the disturbing, because, as Tennant-Moore asserts, “wonder, disgust: both feelings are true.” Here’s a bonus piece on A.M. Homes‘ darkly comic May We Be Forgiven and on comforting the disturbed — or is it disturbing the comforted?
Has Joan Didion become “the Ultimate Literary Celebrity“? In an article for the New Republic Laura Marsh says “yes,” and then explains how that happened. Marsh’s efforts pair well with Franklin Strong‘s recent Millions essay on “The Manliness of Joan Didion,” Joan Didion being a literary figure who easily adapts to any description.
If you read Lydia Kiesling’s recent piece about Granta’s Young British Novelists and thought to yourself, “That John Freeman guy sounds like a grand ol’ chap, but I think I could do his job better,” then I have two things to say: 1) That’s kind of a rude thing to think to yourself. And 2) You’re in luck, I guess, because he’s in need of a replacement.
Proclaiming the death of the book has been in vogue nearly as long as the book itself. Leah Price presents a short history of our pessimism for the future of the written word.
The LA Times has a review up of Eula Biss‘s On Immunity: An Innoculation, an “elegant, intelligent and very beautiful book, which occupies a space between research and reflection.” We covered the collection in our Second-Half 2014 Book Preview, and Biss’s first book, Notes from No Man’s Land, has appeared in several Millions pieces over the last few years.