Out this week: The Small Backs of Children by Lidia Yuknavitch; The Woman Who Stole My Life by Marian Keyes; The Hand that Feeds You by A.J. Rich; Among the Ten Thousand Things by Julia Pierpont; Vanishing Games by Roger Hobbs; The Last Pilot by Benjamin Johncock; Speak by Louisa Hall; The Way Things Were by Aatish Taseer; The Invaders by Karolina Waclawiak; Pretty Is by Maggie Mitchell; You Don’t Have to Live Like This by Benjamin Markovits; French Concession by Xiao Bai; The Captive Condition by Kevin P. Keating; and the paperback edition of our own Edan Lepucki’s California. For more on these and other new titles, check out our latest book preview.
Daylight savings time = more daylight to read by, and as luck would have it New York Review Books is having their winter sale, so you have no excuse to be out of reading material. You can stock up on titles 50% off through the end of March / the beginning of actual Spring.
At Brain Pickings, Maria Popova meditates on attention and the works of Simone Weil, among them Gravity and Grace. Popova writes that Weil “wrote beautifully of attention as contemplative practice through which we reap the deepest rewards of our humanity.”
“I do not have experiences in order to write about them. I live in order to live,” Rachel Kushner told New York Magazine. Boris Kachka profiles 2013’s most critically acclaimed author and 2013 Year in Reading participant about what it was like to grow up with hippie parents, riding motorcycles, and her affinity for the art world.
Out this week: The Windfall by Diksha Basu; Quiet Until the Thaw by Alexandra Fuller; The Destroyers by Christopher Bollen; River Under the Road by Scott Spencer; The Confusion of Languages by Siobhan Fallon; and Modern Gods by Nick Laird. For more on these and other new titles, go read our most recent book preview.
Writing a novel is an all-consuming project, so can you imagine not telling anyone? At The New York Times, Alice Mattison discusses keeping her novels secrets until at least the third draft. “If I talk about the book, I believe — I cannot help believing — my characters will be angry, and will no longer confide in me about their embarrassing, troubled lives.” On another side of the secrecy spectrum, Emma Straub writes about what it’s like to keep a personal secret even as her literary life was booming.