The final installment of Elena Ferrante’s Neapolitan Novels, The Story of the Lost Child, hits shelves next week. Emma Adler at Electric Literature has compiled a helpful Ferrante Study Guide if you’re feeling a bit lost. Cora Currier’s Millions essay on “reading Italy” through Elena Ferrante’s body of work is an ideal complementary read.
Our own Emily Mandel may have been onto something with her “catastrophic” summer reading list; dystopia seems to be all the rage this summer. The WSJ sets Rick Moody’s The Four Fingers of Death in “a dystopian United States that is halfway between Kurt Vonnegut’s Player Piano and Woody Allen’s Sleeper.” The SF Chron calls Gary Shteyngart’s Super Sad True Love Story “literature’s first dystopian epistolary romantic satire.” And later this year, as we noted this month, will be Salvation City by Sigrid Nunez, which focuses on a cultish community in the dystopian aftermath of a flu pandemic.
“You should feel embarrassed when what you’re reading was written for children,” Ruth Graham wrote in Slate last week, stirring the proverbial pot of new adult fans of Young Adult bestsellers like The Fault in Our Stars and Eleanor & Park. A host of YA-defenders rose up to shout her down. “You should never be embarrassed by any book you enjoy,” Hillary Kelly responds in The New Republic, unrealistically (we’re embarrassed by quite a lot). For the Washington Post, Alyssa Rosenberg cites examples of worthwhile, complex YA fiction we can certainly support: The Chronicles of Narnia, The Pushcart War, A Wrinkle in Time, and The Westing Game.
“Independent bookstores are intellectual centers of a city.” Our own Bill Morris, who’s currently on tour for his latest book, Motor City Burning, writes for The Daily Beast about the importance and continued relevance of bookstores in the age of Amazon.