“How can a horrific event, so monstrous it seems incomprehensible, be told? How does one even find the words to write about it?” For The Paris Review, Matteo Pericoli takes a look at Slaughterhouse-Five and the bridge between fiction and architecture.
“The way Vermeer painted this wall is consistent with a photograph. It is not consistent with human vision.” In a fascinating new documentary by Penn and Teller, a digital-graphics artist spent five years building a lens, a room, and a harpsichord to figure out how.
HTMLGiant’s A. D. Jameson went and saw part one of The Hobbit in theatres so now none of us have to do the same. Instead, sit back and check out his “250 Points” about the film. Or, if you’d prefer a blast of Tolkien analysis from the past, check out W. H. Auden’s 1956 book review of The Return of the King.
At My Life and Thoughts, Elif Batuman–in delightfully Elifish style–describes her first book travails and unveils a preliminary sketch for the cover of her forthcoming first book The Possessed: Adventures with Russian Books and the People Who Read Them, drawn by New Yorker cartoonist Roz Chast.
The New York Times‘ executive editor Bill Keller caused an uproar three months ago when he railed against Twitter and, specifically, how it was making us all dumb. (Or, after being challenged, was it for some other reason?) This month, he rails against his staff of reporters because they want to write books.
Leave it to Roxane Gay to come up with a novel format for an essay on the feminist novel. In the new issue of Dissent, she presents eleven theses on the topic, including references to Toni Morrison’s Beloved, Erica Jong’s Fear of Flying, and Jeanette Winterson’s Oranges Are Not the Only Fruit. Sample quote: “Not every novel that concerns itself with the lives of women is a feminist novel. Fifty Shades of Grey is not a feminist novel.” You could also read our own Edan Lepucki on the problem with feminist anthems.