Our own Garth Risk Hallberg’s City on Fire is almost here. While we wait, read Boris Kachka’s profile of Hallberg for Vulture, about the expectation surrounding his highly anticipated 944-page debut novel and the experience of writing a book that is “unpublishably long.” We’ll be publishing our own illuminating interview with Hallberg on Monday.
USA Today is running an excerpt of Denis Johnson’s much buzzed about new doorstop Tree of Smoke.The New Yorker Food Issue, to my mind the highlight of the New Yorker publishing year, has arrived. Somehow I look forward to this one as much as I did the Sports Illustrated Swimsuit Issue when I was twelve. Much of the good stuff isn’t online, but you can get a taste of the food writing on offer with a series of short essays under theme “Family Dinner.” Aleksandar Hemon, Gary Shteyngart, Nell Freudenberger, Chimamanda Ngozi Adichie, David Sedaris, Anthony Lane, and Donald Antrim are on the menu.
Attention! 3 Quarks Daily has announced its 4th annual prize for arts and literature online writing, to be judged by novelist Mohsin Hamid. Articles from The Millions writers have won before (a piece from Lydia Kiesling in 2010 and another from Edan Lepucki in 2011) and we’d love to keep that tradition going. Nominations can be posted in the comments of the announcement, so please recommend any Millions writing you have enjoyed since March of last year. And to all of our guest contributors out there, be sure to nominate your Millions pieces!
Whoever decided to sign Noah Baumbach to adapt Claire Messud‘s The Emperor’s Children for the screen has a good feel for the material (Keira Knightley and Eric Bana are also attached). One kind of has to wonder about Richard Gere, though…the Murray Thwaite role is clearly destined for Brian Cox, or vice versa.
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.”