“For the love of all things literary, please quit banning words like ‘said’ in your classrooms,” he howled. He demanded. He cackled. He barked. He spat. He bellowed.
In the current Broadway production of Twelfth Night, Mark Rylance plays Olivia, a role which sees him plaster his face in white makeup and style his hair into a “pouf like a charcoal brioche.” Rylance, the first artistic director of the Globe Theatre in London, projects such a palpable “air of distracted grief” in his performance that “the carapace of theatricality evaporates,” Charles Isherwood writes. The Times theater critic also highlights the work of John Douglas Thompson and Harriet Walter.
In addition to the Jewish refugees who emigrated to North America in the years leading up to World War II, there was also a sizable contingent who fled East. In particular, an estimated 30,000 refugees journeyed to Shanghai between the years of 1933 to 1941. With them, the refugees brought all sorts of valuables, heirlooms, and artifacts. One family brought over 2,000 books. Now, over 70 years later, one Shanghai family is asking for help locating the owner of that library. Part One; Part Two. (h/t Bint Battuta)
Ahead of next week's publication of The Girl Who Kicked the Hornet's Nest, the battle over Stieg Larsson's lucrative literary estate. (Thanks, Craig)
Turns out David Sedaris loves The Onion (but who doesn't, really?). Slate asked more than 30 writers including Junot Díaz, Elif Batuman, Paul Beatty, Miranda July, and Chris Kraus to recommend their favorite funny books. Might we recommend you pair this with our own Jacob Lambert's comedic interpretation of Cormac McCarthy?
"Far more than any other medium, books contain civilizations, the ongoing conversation between present and past. Without this conversation we are lost. But books are also a business...." Jason Epstein explains how publishing works—and why, increasingly, it doesn’t, at the New York Review of Books. (via)