Recommended Reading: On the literary tradition of objectifying and consuming women’s corpses.
Beware of the Gravedigger
Their Own Room
Were you aware there’s a new BBC2 show about the lives of the Bloomsbury Group? There is, and it’s called Life in Squares, a reference to a quote that says the group “lived in squares, painted in circles and loved in triangles.” In The New Statesman, Rachel Cooke sits down with the series. You could also read Alexis Coe on Virginia Woolf and Downton Abbey.
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Wake Up Lucid
For your consideration: “A Minor,” (mp3) the first single from the emerging LA band Wake Up Lucid. If you like your contemporary rock rootsy, bluesy, and earnest (The Black Keys, Jet, The White Stripes), you might like Wake Up Lucid.
James Frey’s Fiction Factory
From New York Magazine, a harrowing piece on “Full Fathom Five,” the young adult fiction factory spearheaded by James Frey, and the controversial contracts young writers are asked to sign.
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Basically, Salman Rushdie is the man.
“Writing’s too hard, and most of the time you feel dumb. It’s so difficult, you don’t have time to worry about being famous. That just seems like shit that happens outside.” Cheers to that, Salman Rushdie.
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New Lethem
Did you know Jonathan Lethem‘s a really good essayist? Thought so. Did you know he has a 450-page collection, The Ecstasy of Influence, coming out in November? Me neither. An amuse-bouche, on Norman Mailer, is up at the L.A. Review of Books.
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More Than Light
“Romance heroines hold jobs. They teach, farm, practice law, work independently as private detectives, or they are involved in the arts, in dance, in theater. They are mothers, ex-wives, Marines. They take up causes and they always want something ‘more’ from their lives—and we aren’t just talking about a partner. In today’s romance, the relationship is part of—and often, a catalyst for—a woman’s journey, not her destination.” On the value of romance fiction.
Bright Lights, Big Themes
A lot has already been said about Nicolas Winding Refn’s newest and arguably most provocative film, Neon Demon. At The Rumpus, Jeffery Edalatpour examines beauty and its extremes, and also asks a couple questions of the director, himself: “Refn has revised the mythology of Aphrodite; she dons as much armor as Athena, enjoying nothing but the hunt. When I asked the director if he could cite any visual influences, his flat affect implied disdain for my simplistic question: ‘I just photograph what I find interesting. I believe that women are more powerful and more interesting than men. It’s just very much what I like to fantasize about.’ Fair enough.”
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