Out this week: Evening in Paradise by Lucia Berlin; Those Who Knew by Idra Novey; A Stranger’s Pose by Emmanuel Iduma; The Naked Woman by Armonía Somers; Northwood by Maryse Meijer; and The Feral Detective by Jonathan Lethem. For more on these and other new titles, go read our most recent book preview.
What do you do when McSweeney’s rejects your humor piece? You could, like most people, slink off and write something new, perhaps after a quick look at the site to get a better sense of what they’re looking for, or you could write a new humor piece about getting rejected by McSweeney’s. At The Nervous Breakdown, Rachel Pollan takes the latter route (with a cameo by the movie Swingers).
With the movie adaptation of The Great Gatsby slotted to come out next summer and Anna Karenina due out in late November, film critic Richard Brody looks back at some of his favorite movies based on literature and proposes what makes an adaptation successful.
Last week, I pointed readers to a speech by the late James Salter, reprinted by The Paris Review Daily in tribute to the writer after his death. For a fan appreciation, you can read Kevin Lincoln in Hazlitt, who leads his piece with the observation that Salter “wrote sentences you could unfold into paper lanterns.” Pair with our own Sonya Chung’s review of Salter’s All That Is.
It is a truth universally acknowledged (and recently addressed in Barclay Bram Shoekmaker‘s Millions review of Mo Yan‘s Frog) that literary translation is an imperfect art, and this list of mistranslated “literary moments” only offers more evidence for the claim. But for every serious blunder there’s also a truly ridiculous one (or more). For example, the French translated the title of Animal Farm as Animals Everywhere!, which sounds a lot like a charming children’s book and not at all like Orwell.