For Atlas Obscura, Tucker Leighty-Phillips writes on how a Portuguese-to-English phrasebook, introduced to English readers by Mark Twain, became a comedy sensation. Pair with this Millions piece on Twain’s travels.
This week in the New Yorker Jane Hu analyzes the “dispassionate first-person narrators” prominent in works by English-speaking Asian authors and questions whether that makes it easier to identify with the narrator. She uses Chemistry by NBA 5 under 35 honoree Weike Wang as an example along with other recent works. “Against this tradition, there is, perhaps, another emerging, of Asian-Anglophone writers who both play with and thus begin to undo these tropes of Asian impersonality. The novels by Ishiguro, Park, Lin, and Wang all feature first-person narrators who keep their distance—actively denying readers direct interior access. This is true, it’s important to note, even when the characters they write are not themselves Asian.”
Don’t bother looking for that book you need, a robot will do it for you. Will browsing disappear as robots take over libraries?Mad Max Perkins, “currently a senior executive for a major New York publisher,” has entered the world of blogs. Who is this masked man?Moleskine, maker of the world’s greatest notebooks, has added the Story Board Notebook to its ever expanding line of notebook products. “Advertising creatives, graphic designers, filmmakers, and cartoonists” rejoice!I enjoyed reading an excerpt of Maximum City: Bombay Lost and Found by Suketu Mehta. A good pick for anyone with an interest in the subcontinent.
In an essay for the Los Angeles Review of Books, Peter Birkenhead goes back to Nabokov‘s Speak, Memory and considers “the way our memories tell themselves to us: in hints, collisions, and rushes, overlapping, upside down, out of order.” Pair with our own Garth Risk Hallberg‘s piece on reading Ada, or Ardor.