Yesterday, one of my Curiosities included a link to an old Millions review of AM Homes’s domestically disturbing novel May We Be Forgiven. Today, she has a great new story over at The Guardian just in time for Valentine’s Day.
The 1.5 million people who live in the Bronx lack a general interest bookstore, classifying their borough as one of a growing number of “book deserts” across the country. To combat this trend, the National Book Foundation just launched “The Book Rich Environment Initiative.” Meanwhile, Juma’a Ali runs a popular bookshop in a UN-administered refugee camp near the South Sudanese city of Malakal.
“While I’m glad we’ve had this chance to talk, because of time constraints I cannot answer these basic questions about race and how racism works.” Colson Whitehead considers new business cards. See our review of his Pulitzer-winning The Underground Railroad here.
World-building is an essential part of any story, but what about map-making? At Book Riot, two cartographers explain how they create the maps we see inside books. One cartographer’s perspective: “I really wanted to make a map that could easily be an artifact from the world of the book…. I came up with the idea that the map could be a page ripped from an atlas, and someone had written notes on it.” See also: Rob Goodman’s essay for the reader on world-building and its relationship to reality.
The office novel, by nature, is a tricky construct, if only because your average white-collar job doesn’t offer much in the way of fiction-worthy moments. That said, recent books like Then We Came to the End by Joshua Ferris demonstrate how fruitful it can be to wring drama out of the rat race. In the latest issue of Dissent, Cubed author Nikil Saval delves into the contradictions of office fiction. FYI, Saval wrote a Year in Reading entry for us.
In anticipation of Adam Sternbergh’s novel, Shovel Ready, Chris Bilton and Sarah Liss collaborated on “the ultimate N.Y.C. dystopia map,” which serves as an amalgamation of “some of the darkest visions of the city.” Meanwhile, Jacob Silverman points us to a map of St. Petersburg, Russia, “made out of lines from Russian literature.” (Bonus: Sternbergh discusses his novel with the Los Angeles Times.)
Novelists, poets, and playwrights aren’t the only people who can call themselves writers. Don’t forget the oft begrudged screenwriters. The New York Times highlights 14 of this year’s best screenwriters, including Julie Deply and Seth Rogen, and asks them for writing advice and one original line of dialogue for some excellent short films. Our favorite short film is Robert Redford’s.