“To translate the power of Tish and Fonny’s love to the screen in Baldwin’s image is a dream I’ve long held dear. Working alongside the Baldwin Estate, I’m excited to finally make that dream come true.” Oscar-winning Moonlight director Barry Jenkins is adapting James Baldwin‘s 1974 novel If Beale Street Could Talk for the screen, says The Hollywood Reporter. (He’s also bringing Colson Whitehead‘s The Underground Railroad to visual life as well.)
“Ideas are interesting to me, and religions are a place where ideas have been very subtly embodied for thousands of years. All literature started as sacred literature.” Alexandra Alter interviews Salman Rushdie about his brand-new novel, Two Years Eight Months and Twenty-Eight Nights.
New this week: Summer House With Swimming Pool by Hermann Koch; I’ll Be Right There by Kyung-Sook Shin; The Book of Unknown Americans by Year in Reading alum Cristina Henríquez; In the Wolf’s Mouth by Adam Foulds; The Lemon Grove by Helen Walsh; The Girl Who was Saturday Night by Helen O’Neill; and two new books, Paper Lantern and Ecstatic Cahoots, by Stuart Dybek.
What’s the greatest tool to create suspense? An unreliable narrator, according to Gillian Flynn, who is a master of them if you’ve read Gone Girl. She discussed how to write a good thriller, why she doesn’t believe in guilty pleasure reading, and her ambitious quest to read every Pulitzer Prize-winning novel in chronological order in a New York Times “By the Book” interview. Pair with: Our conversation about Gone Girl.
“‘What I want,’ a young Luis Buñuel announced to the audience at an early screening of his first film, Un Chien Andalou (1929), ‘is for you not to like the film … I’d be sorry if it pleased you.’ The film’s opening scene, which culminates in a close-up of a straight-edge razor being drawn through a woman’s eyeball, is often taken as the epitome of cinema’s potential to do violence to its audience…Horror movies frighten us; violent thrillers agitate us; sentimental stories make us cry. Suffering is often part of our enjoyment. Within limits, however: we are not to be so displeased that we are not pleased. Buñuel deliberately went beyond the limits of permissible displeasure. And so, in his own way, does the Austrian filmmaker Michael Haneke.”
In an interview with The Atlantic, Zone One author Colson Whitehead says the distinction between “literary” and “fantasy” genres “have no use for me in my day-to-day work experience.” Whitehead is just one of the recent high-profile authors to foray into genre fiction, however, as Kim Wright explored in a piece for us last month.