Michael B. Jordan was tapped to play Montag in HBO’s adaptation of Ray Bradbury’s Fahrenheit 451. The project, which will also star Michael Shannon as Beatty, is currently under development. (Bonus: Tanjil Rashid on “Bradbury’s Middle East Connection“)
Fire It Up
Tuesday New Release Day: Desai, James, Gordon-Levitt, Beach, Mueller
New this week are Anita Desai’s The Artist of Disappearance and P.D. James’ Pride and Prejudice sequel Death Comes to Pemberly. Joseph Gordon-Levitt hangs up his acting duds to put out The Tiny Book of Tiny Stories: Volume 1, and, speaking of tiny stories, there’s Lou Beach’s 420 Characters: “these crystalline miniature stories began as Facebook status updates.” On the nonfiction side, there’s Extra Virginity: The Sublime and Scandalous World of Olive Oil by Tom Mueller.
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Oratory Passion
The best Fourth of July speech? Frederick Douglass delivered it on July 5, 1852. Pair with a reading list for July.
Remnick on Obama: The Bridge
New Yorker editor David Remnick‘s biography of President Obama will be released April 6, with a first printing of 200,000. Details at PW.
Gold in the New Millennium
Everything Ravaged, Everything Burned author Wells Tower tracks the Klondike’s modern gold rush in his typically comprehensive way.
Earth’s Song
Recommended Reading: Joseph Fasano’s “Coda,” which is The Missouri Review’s poem of the week. “Now he is listening for beginning./Now he is lying/among that sinew,/asking, as a boy would, where his song goes.”
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Last Call for MPWs
Last November, the University of Southern California announced that it would stop offering a Masters in Professional Writing, ending a program that counts Richard Yates and Hubert Selby, Jr. among its faculty alumni. At The Nervous Breakdown, Aram Saroyan (son of William) looks back on his time as an instructor.
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Alice Walker on Screen
Still deciding what to do this Friday night? Watch PBS’s new documentary on Alice Walker, Alice Walker: Beauty in Truth, at 9 p.m. EST. At The Daily Beast, Agunda Okeyo discusses the history of the film’s production, which took six years. “Stories about women of color told by women of color are sidelined and neglected in favor of our stories being told by white women and men,” director Pratibha Parmar says.