Recommended reading: before you head to the theaters for the latest Jurassic Park film, make sure you know the series’s bookish roots.
A Bookish Jurassic Park
Being Ernest
Is your family concerned about you? Are all your Victorian relatives vaguely scandalized by your presence? Then you just might be in a character in an Oscar Wilde play. At The Toast, a list of ways to tell.
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A Quality of Immortality
“When watching [Abbas] Kiarostami films, one also has a great sense of another kind of freedom not found in Hollywood movies, nor in most European art films: freedom from the creeping realization that a film we are watching was made by a cynical shit or a self-deluded megalomaniac.” Here’s something you don’t see every day — an essay that begins with an Independence Day showing of The Purge: Election Year, and somehow ends up at a poetic examination of Kiarostami’s artistic legacy.
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Art as Activism
“In the media there are a very limited number of ways that people are used to seeing sex-worker characters, and I definitely wanted to break out of that.” The Los Angeles Review of Books interviews Aya de León about her debut novel, Uptown Thief.
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Love Letter Requiem
“I think of the book as a love letter in the form of a requiem.” Our own Emily St. John Mandel, whose novel Station Eleven was recently shortlisted for the National Book Award, was interviewed for Omnivoracious about writing, apocalypse and the beauty of the modern world.
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A Thing of Beauty
“Hitler increasingly presented himself in messianic terms, promising ‘to lead Germany to a new era of national greatness,’ though he was typically vague about his actual plans.” The New York Times‘ Michiko Kakutani writes a review of Volker Ullrich‘s new Hitler biography, Hitler: Ascent, 1889-1939, so timely it could easily be an op-ed. Just read it. And when you’re done, read this too.
The Enemy has arrived
Last January, Charlie White launched The Enemy, a new online journal published thrice annually that “invites writers, artists, academics, and activists to present essays and projects outside the mainstreams of their practices and disciplines.”
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Historical Fiction Focuses on the 20th Century
The Walter Scott prize did an analysis of prize submissions since its eight years of existence-with 650 novels submitted-and found that “38% of its submissions were set in the 20th century, while 19% were set in the Victorian era, between 1837 and 1901.” They also found many of the submissions focus on World Wars II and II and that the number of women historical fiction writers submitting their work has gone up.”The [Walter Scott] Prize celebrates quality, innovation and longevity of writing in the English language, and is open to books first published in the previous year in the UK, Ireland or the Commonwealth,” the breakdown is fascinating.