Three finalists have been named for this year’s $10,000 Albertine Prize: Eve Out of Her Ruins by Ananda Devi, The Heart by Maylis de Kerangal, and Bardo or Not Bardo by Antoine Volodine. Voting is open until Sunday, April 30th. Also, you can read more about Volodine’s work courtesy of Grant Munroe.
Geoff Dyer endorses Ben Lerner’s Leaving the Atocha Station , John Jeremiah Sullivan’s Pulphead --our own Bill Morris loves it too!--and a generalized aversion toward seafood in his interview with Morten Høi Jensen for Book Forum. While they ostensibly met to talk about Zona--reviewed on The Millions here--it’s perhaps unsurprising that they managed to digress so liberally: “we chatted about his review of Richard Bradford’s Martin Amis: the Biography, and by the end he was giving me advice about which David Markson book I should read first. Our interview, in other words, assumed the shape of a Geoff Dyer book.”
The "grande dame of the Beat Generation" has died at age 90. Carolyn Cassady passed away last Friday near her home in England. She was the inspiration for Camille, Dean Moriarty's overburdened second wife in Jack Kerouac's On the Road. Yet Cassady was a writer in her own right and published two books, Off the Road and Heart Beat: My Life With Jack and Neal, about how the Beat Generation was misunderstood.
In honor of Bloomsday, some recommended reading, listening, and playing: one-day diaries of four modern Blooms in New York, Radio Bloomsday's seven hours of readings (by Alec Baldwin, John Lithgow, Jerry Stiller, Garrison Keillor, and others), even found poetry and an iPhone game drawn from the text of Ulysses. Oh, and--of course--James Joyce's book itself.
A Russian publisher has stooped to a new low: it added “fake quotes from fake newspapers on the cover of a … novel released this summer.” That’s not all, either. Apparently the publishers are trying to bill the book as a “Swedish” crime novel even though it was actually written by a Russian under a pseudonym.
The New York Review of Books posts a vintage essay by Joan Didion on the films of Woody Allen: "This notion of oneself as a kind of continuing career—something to work at, work on, 'make an effort' for and subject to an hour a day of emotional Nautilus training, all in the interests not of attaining grace but of improving one’s 'relationships'—is fairly recent in the world, at least in the world not inhabited entirely by adolescents. In fact the paradigm for the action in these recent Woody Allen movies is high school."