Out this week: Vinegar Girl by Anne Tyler; The Mandibles by Lionel Shriver; As Good as Gone by Larry Watson; Disappearance at Devil’s Rock by Paul Tremblay; My Last Continent by Midge Raymond; and The World Without Us by Mireille Juchau. For more on these and other new titles, go read our Great 2016 Book Preview.
Martin Connelly takes a look at The International Cryptozoology Museum, which is run by Loren Coleman up in Portland, Maine. If you can’t make the pilgrimage yourself (or if you’re just put off by chupacabra taxidermy), you can also get a feel for the study of far out beasts by reading Coleman’s “genre-defining” book, Cryptozoology A to Z.
Recommended Viewing: This installment of The Paris Review’s “My First Time” series, in which poet Ben Lerner remembers “working under the sign of crisis” and attempting to find a publisher for his first book, The Lichtenberg Figures. A couple of Lerner-related pieces from The Millions: a review of his newest novel, 10:04, and a Year in Reading from back in 2014.
Why do Americans read so few translated works? A lot of reasons come to mind, but one is that translated books are often the purview of small publishers, who don’t have the same marketing budgets as the larger companies in the industry. At The New Yorker’s Currency blog, Vauhini Vara looks at the statistics compiled by Three Percent, a database at the University of Rochester that tracks publications of translated works in the country. Related: Oliver Farry’s interview with the Portuguese writer António Lobo Antunes.
“Save one life save the world, instructs the Talmud… You can’t save every life. You can’t save every book. But you can at least throw lifelines now and then.” Susan Coll writes for The Atlantic about the power of shelving and the importance of staying hopeful, no matter how gloomy publishing becomes.
When did Twitter turn into a place of public shame, outrage, and apology? Alexander Chee examines the changing culture in an essay for Dame Magazine. “Oh, Internet, place of the ultimate writerly paradox, where things you write quickly for little or no money last forever.” Our own Mark O’Connell explored something similar in his New Yorker essay on the public humiliation of regrettable tweets.
“Why write in an unlovable genre with an inevitably hectoring tone? Dystopia, situated in a dangerous no-man’s-land between the pulpit of the preacher and the safe sniper post of the satirist.” Future futurists, take note: the New York Review of Books reviews Chang-Rae Lee’s addition to your dystopic shelf, On Such a Full Sea, and ponders the virtues of the dystopic endeavor itself. (Bonus: Lee writes about his own 2013 Year in Reading here at The Millions.)