“The idea came to Mr. Mallory one night as he sat on his couch watching an old favorite, Hitchcock’s Rear Window. Out of the corner of his eye, he noticed a lamp switch on in the apartment across the street.” Published under a pseudonym, former executive editor Daniel Mallory‘s debut novel The Woman in the Window was acquired and published by his own imprint. Pair with: an essay about the emergence of “reimagined thrillers” that create characters out of setting.
“In the first few days of ‘publicly’ reading the book, I only received quizzical stares and saw people putting glasses on or slouching in their seats to better read the cover. It just so happened that it wasn’t until Black History Month that those silent stares turned into vocal encounters and my light commuter reading turned into a bit of a social experiment.” Recommended reading: Lauren A. White’s experience of reading How To Be Black in public.
“Over the years, I’ve come to realize that sometimes a ghost isn’t always a ghost. Sometimes, telling a ghost story is a way to talk about something else present in the air, taking up space beside you. It can also be a manifestation of intuition, or something you’ve known in your bones but haven’t yet been able to accept.” Jenna Wortham on the ghost stories of her youth.
The LA Times‘ Festival of Books is happening this weekend, and attendees have not one, not two, but three chances to see Millions staffers Patrick Brown and Edan Lepucki. On Saturday, Patrick will be hanging out on the Nuts and Bolts publishing panel, and on Sunday, he’ll be moderating one entitled Art of Immersion. Also on Sunday, Edan will moderate the Visionary Eyes fiction panel with Aimee Bender, Mark Leyner, Ben Ehrenreich, and Elizabeth Crane.
“His books are not only obviously produced by an obsessive film buff (as evidenced by one wry recurring trick, the dates in brackets that follow even citations of celluloid ephemera), they often seem to want to be movies, as shown by another signature device, the way his protagonists – from the 1890s European spies and 1950s New Yorkers in the interwoven narratives of his debut, V. in 1963, all the way to Inherent Vice and Bleeding Edge in 2013 – break anti-naturalistically into song like characters in musicals.” An argument that Thomas Pynchon writes fiction tailor-made for the cinema.