New this week: The Making of Zombie Wars by Aleksandar Hemon; A God in Ruins by Kate Atkinson; The Ghost Network by Catie Disabato; The Love Object by Edna O’Brien; The New World by Chris Adrian and Eli Horowitz; Look Who’s Back by Timur Vermes; Paris, He Said by Christine Sneed; Hugo & Rose by Bridget Foley; and Scavenger Loop by David Baker. For more on these and other new titles, check out our Great 2015 Book Preview.
“I like a lot of things about being a woman, but there are times and ways it’s a prison, and sometimes I daydream about being out of that prison.” The Guardian has a crack Rebecca Solnit essay about clothing, gender, and of course, mansplaining. Pair with our review of Solnit’s The Faraway Nearby.
Sad that Breaking Bad is over? Bryan Cranston might have a new TV show on the way, and it was inspired by The Dangerous Book for Boys, he said in an interview for The New York Times “By the Book” series. While you wait, check out our article on what to read after you’ve finished watching Walter White’s saga.
First our own Mark O’Connell pondered the relationship between listicles and our shrinking attention spans for The New Yorker, and now Arika Okrent suggests that a listicle is its own literary form – albeit a “gloriously unspecified” form, at that. Together, these pieces constitute 2 Meditations On Listicles That Will Totally Change Your Life.
When Adrienne Raphel got to the Iowa Writers’ Workshop, she found a group of writers as addicted to fonts as she was. Over time, a “font subculture” developed among the poets, who settled on particular fonts as their signatures, at least for a while. At The Paris Review Daily, she writes about her typographic bent. Pair with our own Garth Risk Hallberg on the use of fonts in publishing.
Haruki Murakami’s love for jazz is no secret – he used to own a jazz bar, he’s written full essay collections on the music, and his books are peppered with references to jazz songs and musicians. How fitting, then, that there’s finally a playlist of jazz songs mentioned in Murakami’s writings. Pair with our many past essays on Murakami.
In an effort to get consumers to think more consciously about the “human cost” of commercial sugar production, artist Kara Walker has installed “Subtlety,” a large-scale public sculpture in Brooklyn’s iconic Domino Sugar Factory. Meanwhile, Edwidge Danticat explores contemporary labor conditions in the Dominican Republic’s cane fields.