New this week: Zero K by Don DeLillo; Sweet Lamb of Heaven by Lydia Millet; Everybody’s Fool by Richard Russo; The Sport of Kings by C.E. Morgan; Imagine Me Gone by Adam Haslett; and Eleven Hours by Pamela Erens (who we interviewed). For more on these and other new titles, go read our Great 2016 Book Preview.
What do you call a genre that mixes westerns and fantasy novels? Damien Walter proposes the term “weird western.” In The Guardian, he runs down the history of the hybrid category, citing Joe Abercrombie’s Red Country and Molly Tanzer’s Vermillion as examples. Pair with Daniel Kalder on the Euro-Western.
Before Dr. Seuss penned the Lorax who spoke for the trees, he drew ads for Standard Oil, General Electric, and a host of other large corporations who spoke for a considerably different constituency. This great collection of advertising artwork from Theodore Seuss Geisel courtesy of the Mandeville Special Collections Library at the University of California, San Diego.
“When it comes to the personal essay, we want so much and there is something cannibalistic about our desire. We want essayists to splay themselves bare. We want to see how much they are willing to bleed for us. This desire introduces an interesting tension for essay writers. How much should they bleed, and how much blood should they save for themselves?” Roxane Gay reviews Meghan Daum‘s The Unspeakable and reflects on the personal essay for The New York Times Book Review. Pair with our own Hannah Gersen‘s Millions review of the same book.
Out this week: So You’ve Been Publicly Shamed by Jon Ronson; The World Before Us by Aislinn Hunter; Selfish, Shallow, and Self-Absorbed: Sixteen Writers on the Decision Not to Have Kids, edited by Meghan Daum; At the Water’s Edge by Sara Gruen; The Architect’s Apprentice by Elif Shafak; and The Harder They Come by T.C. Boyle. For more on these and other new titles, go read our Great 2015 Book Preview.
For its spring issue, the Paris Review will be publishing Roberto Bolaño’s The Third Reich—its first serialized novel in forty years—with original illustrations by Leanne Shapton. It’s a chance to discover Bolaño’s famous lost novel almost a year before it appears in book form.