Some of the most revered literary novels that have appeared in recent years will be adapted for television. Jonathon Sturgeon writes for Flavorwire, “What do we call this new relationship between prestige and streaming TV and the literary novel? The two now shape each other in peculiar, formal ways—like lovers who share an apartment, they’ve started speaking and looking alike.” Pair with this Millions piece on literary magazines in film and TV.
“The best critics do more than explain why they liked or didn’t like a book; they try to understand books, and show other readers, by example, how to read and think about those books. Specialized expertise can work in service of that goal, but is probably not as important as a willingness to attempt to be a work’s most thoughtful reader.” Elisa Gabbert writes for Electric Literature about who gets to translate and review works and takes Kazuo Ishiguro‘s latest novel, The Buried Giant (which we reviewed here), as a case study.
Year in Reading alum Angela Flournoy writes about Ralph Ellison’s Invisible Man for the National Book Foundation. “I return to Invisible Man often because it accomplishes so many things at once, but never at the sake of intelligent, moving storytelling.” Pair with our interview with Flournoy.
“What is the value of a book cover if fewer and fewer people shop at bookstores?” Nicholas Blechman wonders about the purpose of the book cover at The New York Times Book Review, but he also rounds up some of the best covers of 2014, including the design for Eimear McBride‘s A Girl is A Half-Formed Thing (Millions review here, McBride’s “Year in Reading” here).
This article on M.F.K. Fisher, the godmother of American food writing, should be catnip for those of you who like reading about food almost as much as eating it. A onetime French expat, Fisher conducted “a one-woman revolution in the field of literary cookery,” most notably with her collection of essays The Gastronomical Me. (Back in 2010, Jessica Ferri wrote about Fisher for The Millions.)
“There are people out there who want you to write their novels for them,” observes professional ghostwriter Sari Botton. Over at Scratch, she shares some advice for breaking into the industry. Also, the magazine has made her longer article about “the spooky finances behind her gigs” free to read – all you have to do is register.
The diary novel may be “an under-attended” genre, but Johannah King-Slutzky is trying to remedy that. In an essay for The Hairpin she traces the diary novel’s history from the Victorian era to Go Ask Alice while examining the genre’s balance of “melodrama and awkward moralizing” with the potential for subversion.