Peg Plunkett was an 18th-century Dublin courtesan who decided one day to make some money by publishing a series of memoirs. Now, over two hundred years after Plunkett sketched out her life story, Professor Julie Peakman has rewritten all three volumes for a modern audience. In a piece for The New Statesman, Sarah Dunant reviews her edition of Plunkett’s oeuvre.
At The Rumpus, Catherine Brady interviews Daniel Alarcón, who recently came out with a new novel. Alarcón talks about his love of Roberto Bolaño and the paradox of writing about prison, among other things. (You could also read Jeff Peer’s review of the author's new book.)
A few weeks ago, I wrote about an event at which Don’t Kiss Me author Lindsay Hunter teamed up with songwriter Holly Miranda for an interesting reading-cum-concert. Now, at The Nervous Breakdown, the writer conducts an interview with none other than herself.
As Nick Richardson notes for the London Review of Books, Saul Bellow’s son, Adam, has his hands full these days. When he’s not maintaining a site devoted to conservative “literature,” he’s extolling the virtues of conservative fiction writers you “probably have never heard of — and won’t, if the powers that rule the lit-crit, fanfic, and commercial publishing worlds have anything to say about it.”
Boris is coming to the big screen. Nina Jacobson, the producer behind The Hunger Games, has acquired the rights to adapt Donna Tartt's The Goldfinch. Whether it will be a film or TV miniseries is still up for question, but if the actors need any help getting into character, check out our essay on identifying with Theo and learn how to tweet like Boris.