“[Don] DeLillo’s characters long to penetrate the enigmas and intrigues of his conjured worlds; DeLillo’s readers devour his sentences, images and narratives for what amounts to something similar: for all that DeLillo — the seeker, the prophet, the mystic, the guide — sees.” Don DeLillo has a new book, Zero K, out tomorrow. Go check out this review from The New York Times, and then go take a look at this essay from The Millions’s own Nick Ripatrazone on DeLillo and American athletics.
Peter Hedges, author of the novel and screenplay for What’s Eating Gilbert Grape?, as well as Dan in Real Life, and Pieces of April, is set to adapt and direct his latest novel, The Heights. Set in Brooklyn Heights amid its wealthy, over-zealous, stay-at-home mommy set, the novel follows a happy, slightly down-at-the-heel couple as their marriage is tested by the arrival of another woman. (All of the wit of Tom Perrotta’s Little Children, but not quite so dark and cynical.)
Our staff writer Nick Ripatrazone has published two books in the last year – the short story collection Good People and the novella We Will Listen For You – and both have recently been reviewed in New Jersey papers, which agree that the books are “an invitation to look beyond the stone walls of churches and gape in wonder at the world and the unknowable vistas beyond.” Pair with Nick’s ever-relevant essays on teaching English and becoming a writer, not a priest.
Thanks to the Yale Open Courses program, you can watch all 26 of Amy Hungerford’s lectures on “The American Novel Since 1945.” Also from the program, I highly recommend checking out John Rogers’ series of lectures on John Milton and Paradise Lost, as well as Paul H. Fry’s “Introduction to the Theory of Literature.”
Elena Ferrante’s introduction to the Folio edition of Sense and Sensibility is available at The Guardian. She describes the experience of reading Jane Austen as a girl. “At the time, I was enthralled by the great male adventure novels, with their stories that ranged all over the world, and I wanted to write such books myself: I couldn’t resign myself to the idea that women’s novels were domestic tales of love and marriage. I was past 20 when I returned to Austen. And from that moment not only did I love everything she had written but I was passionate about her anonymity.”