Do writers owe their readers engagement on social media? “Our sole obligation to readers is to write the best books that we possibly can,” our own Emily St. John Mandel told The Guardian. Pair with our piece on the best of literary Twitter.
Edinburgh's latest whodunnit wasn't written by Ian Rankin. The Scottish capital's mysterious book sculptor has struck again. Last summer, she started anonymously leaving paper sculptures at literary locations around the city to promote free access to libraries, museums, and galleries. The latest artwork arrived at the Edinburgh Unesco City of Literature Trust and includes paper feather wings, a safety helmet, and goggles "to provide some protection throughout journey."
Anne Carson has a new story in this week’s issue of The New Yorker, about swimming and its discontents. As she puts it, “People think swimming is carefree and effortless. A bath! In fact, it is full of anxieties.” Pair with her first published short story in the January issue of Harper's.
“In a world where reality has become stranger than fiction, actual books are no longer selling.” At The New Republic, Morgan Jerkins talks with agents, authors, booksellers, editors, and publicists about whether the Trump presidency is bad for the book business. And on that note, let's revisit our own Bill Morris on book releases: “There are few iron facts in the crapshoot of the literary life, but here’s one: In book publishing — no less than in music, war, and sex — timing is everything.”
Generally speaking, it’s a good idea to take Kathryn Schulz’s book recommendations. However when she refers to something – in this case J.M. Ledgard’s Submergence – as “the best novel I’ve read so far this year,” you really ought to listen up. By the time she invokes Philip Gourevitch, Anne Carson, W. G. Sebald, and John Le Carré in her review of that book, you ought to be reaching for your wallet.