Your inner monologue is whip-smart. You can’t imagine life outside Manhattan. You’ve had multiple husbands, all of whom left you for other women. Is it possible you’re in a Grace Paley story?
Olsson’s, a small chain that was an old standby among Washington D.C. independent bookstores, is likely to file for bankruptcy. It was the stores’ ample music sections and gentrification that contributed most to its downfall. “‘The book business is getting a little soft. It’s not selling as much as it used to,’ Olsson said. ‘Our music sales went from 50 percent of our business to maybe 15. We lost a lot of revenue, and at the same time rents went up and real estate taxes went up. I don’t know what we would have done differently. It’s a killer.'”The linguistic capabilities of modern world leaders. Well done, Pope, well done.For those whose fantasies involve real estate: Private Islands for SaleAnd a pair of audio items:Nam Le’s The Boat is getting rave reviews. Here he visits The Leonard Lopate Show.Garth covered the PEN World Voices Tribute to Robert Walser. Interested readers can now listen to the entire event.
Eve Bowen takes a trip to “Gorey Preserved,” an exhibition of “nearly every edition of every work published by [Edward] Gorey, in addition to illustrations for dust jackets and magazines, etchings, posters, and design ephemera,” on display at Columbia University until August 10th. Those unable to attend need not fret—Bowen walk readers through a history of the prolific illustrator’s work and includes plenty of links to his drawings online.
New this week stateside is buzzed-about Booker shortlister Room by Emma Donoghue. Also out: Gold Boy, Emerald Girl, a new collection by “20 Under 40” lister Yiyun Li; Sigrid Nunez’s post-apocalyptic Salvation City; and a McSweeney’s-published memoir Half a Life by Chang and Eng author Darin Strauss.
What do you call a genre that mixes westerns and fantasy novels? Damien Walter proposes the term “weird western.” In The Guardian, he runs down the history of the hybrid category, citing Joe Abercrombie’s Red Country and Molly Tanzer’s Vermillion as examples. Pair with Daniel Kalder on the Euro-Western.
As we noted here recently about the rise and fall of Motown, the real issue was money — who earned it, who kept it, who never saw it. Now Barrett Strong, who co-wrote and sang the Detroit label’s first hit in 1959, “Money (That’s What I Want),” tells The New York Times that he never saw a penny of royalties for a song that became a classic and generated millions of dollars for the label. Strong’s story is the story of Motown boiled down to its bitter, ironic essence.
Guernica’s latest issue is devoted to the American South. As the issue’s introduction states, “The American South is at once a geographical distinction and a bright spot in the imagination, where burden vies with birthright, and where ignorance and renaissance exist side by side.” The issue features a Kiese Laymon essay on inequality and language, Ed Winstead on the Southern accent in writing, an interview with Jesmyn Ward, fiction, and more.