Recommended Reading: On the literary tradition of the allegory and what it means for modern storytelling. Staff writer emeritus Emily Colette Wilkinson writes on The Dark Knight as political allegory.
Geoff Dyer endorses Ben Lerner’s Leaving the Atocha Station , John Jeremiah Sullivan’s Pulphead --our own Bill Morris loves it too!--and a generalized aversion toward seafood in his interview with Morten Høi Jensen for Book Forum. While they ostensibly met to talk about Zona--reviewed on The Millions here--it’s perhaps unsurprising that they managed to digress so liberally: “we chatted about his review of Richard Bradford’s Martin Amis: the Biography, and by the end he was giving me advice about which David Markson book I should read first. Our interview, in other words, assumed the shape of a Geoff Dyer book.”
Over at Salon, Joel Whitney explains how The Paris Review worked with the CIA and “served, in part, as a covert international weapon of soft power.” While the possibility is certainly tantalizing, it's necessary to read Whitney's article alongside Carolyn Kellogg's piece in the LA Times, which notes how "the threads of the article ... become unsupportably tenuous" as it carries on.
"Then, about an hour into the newest version, it struck me: it’s Twilight!...That’s how I would have pitched the film, and the fact that I was thinking of it while watching Heathcliff and Catherine break each other’s hearts was an indication of Arnold’s failure to capture a fraction of Brontë’s genius." The impossibility of filming Wuthering Heights.