This week, Beverly Cleary turned 100. Revisit some of her famous characters like Ramona Quimby and Henry Huggins at NPR. Our editor Lydia Kiesling writes on Cleary’s memoirs, which “transcend time.”
Beverly Cleary Turns 100
My Body Shall Be All Yours
“I am nostalgic for letters. There’s a craft that’s been lost in expressing some kind of desire or passion or bodily experience for someone else.” From James Joyce to Frida Kahlo, The Guardian collects bits of great artists’ erotic missives to one another. And speaking of literary love letters, how about Nicholson Baker‘s Vox [ed. note: it makes a great Valentine’s Day gift]?
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Adichie Hints at Americanah Film
Now that we’ve casted the film adaptation of Donna Tartt’s The Goldfinch, we’d like to turn your attention to Chimamanda Ngozie Adichie’s Americanah, which may be involved in an upcoming collaboration with Oscar winner Lupita Nyong’o. Adichie framed the possibility this way in a recent interview: “I’m going to do the mysterious thing and say that Lupita might be making an announcement very soon.”
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Gothic Roots
“If Gothic literature had a family tree, its twisted gnarled branches chock-full of imperiled, swooning heroines and mysterious monks, with ghosts who sit light on the branches, and Frankenstein’s monster who sits heavy, with troops of dwarves, and winking nuns, and stunted, mostly nonflammable babies, at its base would sit Horace Walpole’s The Castle of Otranto.” Carrie Frye writes for Longreads about the history and personality behind the first Gothic novel, which turns 250 this year.
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On the Cover
Janet Hansen, designer for Alfred A. Knopf, explains her process in creating the cover for Steven Millhauser’s Voices in the Night. Look back on our comparisons of U.S. and U.K. book covers.
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Tuesday New Release Day: Eggers, Dubus, Freeman, Boyd, Zoller-Seitz
New this week: The Circle by Dave Eggers; Dirty Love by Andre Dubus III; How to Read a Novelist by former Granta editor John Freeman; Solo, a new James Bond novel by William Boyd; and “the first in-depth overview of Wes Anderson’s filmography” by the New York Magazine TV critic Matt Zoller-Seitz.
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