A striking photo of the Brontё sisters is not, in fact, a photo of the Brontё sisters. The women in the photo look a lot like them, but their hometown didn’t have much in the way of photography in the 1840s, and there isn’t any record of the Brontёs getting their photo taken. So how did the picture become known for being something it isn’t? At the LRB’s blog, Alice Spawls explains why. Pair with our own Edan Lepucki on Jane Eyre’s Mr. Rochester.
Lit-mag Meanjin Quarterly is taking a cue from The Millions and kicking off a new series, The Best Australian Fiction of the 21st Century (so far).
It goes without saying that a man dubbed “the father of modern conservatism” might stir up contentious debates. In his heyday, Edmund Burke was so renowned as a thinker that his detractors tried to place him at the center of conspiracy theories. In a new biography, Jesse Norman tackles Burke’s thought in its entirety — a task which, in Charles Hill’s view, is nothing if not un-Burkean.
Martin Amis isn’t the only highbrow fan of video games. As of last Friday, The Smithsonian American Art Museum in Washington has begun “The Art of Videogames,” which is “one of the first major shows to explore the artistic power of the medium.”
A surreal theater production of Haruki Murakami’s Kafka on the Shore, directed by Yukio Ninagawa, premiered at the Lincoln Center Festival in July. Ian Buruma writes for the NYRB about the marriage of tradition and modernity, and Western and Eastern references in the play. As he puts it, “even without traditional references, the production—perhaps more than Murakami’s novel—is still unmistakably Japanese: stylized, poetic, comical, violent, full of spectacular effects, and often exquisitely beautiful to look at. The setting jumps at lightning speed from a bus station, to a library, to a sleazy bar area. Various characters emerge and disappear, like memories or scenes from a dream, in an assortment of moving transparent boxes.”