“I suspect ‘chess rage’ and ‘road rage’ are neighboring neural impulses.” Tom Russell at Guernica Magazine has written a fascinating essay on a summer spent playing chess in Bryant Park and the unexpected artistic beauty of the game. Here’s a cursorily-related review of The Chess Machine, a book which features an unbeatable chess-playing automaton controlled by a dwarf.
New this week: The Making of Zombie Wars by Aleksandar Hemon; A God in Ruins by Kate Atkinson; The Ghost Network by Catie Disabato; The Love Object by Edna O’Brien; The New World by Chris Adrian and Eli Horowitz; Look Who’s Back by Timur Vermes; Paris, He Said by Christine Sneed; Hugo & Rose by Bridget Foley; and Scavenger Loop by David Baker. For more on these and other new titles, check out our Great 2015 Book Preview.
Congratulations to Millions staffer Edan Lepucki, who sold her debut novel California to Little, Brown at auction this week. The novel, which Edan refers to as “Novel #2” in her article “What Happens When a Book Doesn’t Sell,” will follow a young married couple grappling with a post-apocalyptic world. Consider us extra relieved given Edan’s proclamation in that article: “And this new book, it will be published. If it doesn’t, well, I’ll just die.”
First there was Keith Richards's autobiography, Life. Now he is writing a children's book, complete with illustrations by his daughter. Gus & Me tells the story of Richards's bond with his grandfather, which is slightly more normal than snorting his dad's ashes.
"Many writers write vexed introspection, or detail-oriented reporting, or counterintuitive cultural commentary, or lifestyle journalism. But so far only Didion has done all four in perfect synthesis, a prose that, at its best, can fire on every cylinder and work on multiple fields of the imagination at once." In support of the Kickstarter project for the documentary on Joan Didion, We Tell Ourselves Stories in Order to Live, Nathan Heller looks back over Didion's writing career, her "imaginatively seductive" nonfiction writing and her carefully constructed confessionalism in a piece for Vogue.