“I don’t remember what Davis read, except that it whistled through the air perfectly.” At Electric Literature, Freeman’s editor John Freeman writes about the experience of publishing Lydia Davis. We have a few pieces about Davis to pair with it.
Have you ever wondered what The Great Gatsby would sound like? Designer Vladimir V. Kuchinov made The Generative Gatsby, a book that features typography based on famous 1920s jazz songs. “The following work is a visual experiment, a study of how music of this era, its rhythms, syncopations and patterns could alter prose to a new typographic frontiers keeping content legible as it could be,” he writes on his website.
Nikil Saval isn’t the only n +1 editor with a new book out. Through his magazine’s publishing arm, cofounder Benjamin Kunkel is releasing a play, Buzz, which comes on the heels of last month’s Utopia or Bust. At Full Stop, William Harris reviews Buzz, calling it “the type of play that propels itself by introducing the indefinite edges of a mystery.” It may also be a good time to read Kunkel’s Year in Reading entry.
Trevor Berrett, the man behind The Mookse and the Gripes, and now The Worlds and Works of Shakespeare, is conducting a giveaway for the NYRB Classics edition of Mark Van Doren’s Shakespeare. Conditions to enter are enumerated on his blog, which you should certainly bookmark if you’re a fan of the Bard.
“I say peel back the immediate surface layer and let’s see what’s actually underneath, if it’s possible to find that out. As a child, of course, I grew up looking under dead logs to see if there might be a newt. Most of the time there wasn’t a newt. Sometimes there was.” Margaret Atwood talks newts and skepticism in a new interview over at Hazlitt. Atwood’s newest, The Heart Goes Last, is out now.