Dan Piepenbring writes at The Paris Review on judging a book by its cover in the Weimar Republic and the sheer mastery of some of the early twentieth-century German cover designers. Two related pieces from The Millions: our own Bill Morris on the pleasures of the typewritten book cover and Matt Allard on reimagining some popular cover art.
Probably the biggest literary debut the week is Arthur Phillips’ The Tragedy of Arthur, a faux memoir about the surfacing of a long-lost Shakespeare play. Also out this week is the first book from former Soft Skull head Richard Nash’s new venture Red Lemonade: Lynne Tillman’s Someday This Will Be Funny. And, finally, now out in paperback is Aimee Bender’s The Particular Sadness of Lemon Cake. (Our two reviews)
Teddy Roosevelt could read an entire book before breakfast. Kim Peek (Rain Man) could read two pages of text simultaneously. Perhaps by using some combination of both techniques, you’ve managed to make your way through our entire Great 2013 Book Preview. Or perhaps you’re just looking for some poetry and science fiction recommendations. Well, either way Mark Sanderson and China Miéville have you covered, respectively.
“This year, Free Comic Book Day turns sixteen years old. The good news: It can drive itself to swim practice now!” NPR’s Monkey See blog provides an irreverent and useful guide to Free Comic Book Day, which is tomorrow, May 6th. “When you read a comic, you are accepting a direct message from one singular honest soul,” Paul Morton wrote in our own pages a few years back.
New this week: The Good Lord Bird by James McBride; Night Film by Marisha Pessl; The Twelve Rooms of the Nile by Enid Shomer; The Daughters of Mars by Thomas Keneally; and Holy Orders, a new Quirke novel by John Banville/Benjamin Black. For more on these and other upcoming releases, check out our Great 2013 Second-Half Book Preview.
“Stories are born unconsciously, but I think the writer determines whether the turn a book has taken is true or false through feeling, which is conscious. I shape my stories in this or that way because the story answers something that is emotionally rather than literally true for me.” At Full-Stop, Siri Hustvedt talks fiction with Tyler Malone.