You might have seen the new Little Women trailer by now. In a series of quick cuts, the eminently familiar faces of Emma Watson and Saoirse Ronan, as well as the faces of Florence Pugh and Eliza Scanlen, flash on the screen: 2019’s wholesome and soft-feminist embodiment of those four famous girls some of us know so well from childhood. Unobjectionable, right? A new book called March Sisters also comes out this year, containing the musings of four well-known writers on their relationships to the book’s protagonists. But what about the latest adaptation of Emily Dickinson‘s life, in which Hailee Steinfeld plays a punk-rock, badass Dickinson who writes about “wild nights”—and isn’t talking about religious ecstasy? For The Guardian, Adrian Horton asks how modernized should literary adaptations be? What liberties is it okay to take?
The Art of the Adaptation
The Cosmonaut
Conrad Aiken’s tombstone reads: “Cosmos Mariner — Destination Unknown.” Which raises the question: what exactly does this epitaph say about the poet’s work? In the LA Times, an argument that Aiken deserves a reappraisal.
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Candlepin Bowling with Elizabeth McCracken
Elizabeth McCracken discusses her new novel, Bowlaway, with Ann Patchett in a new interview for Patchett's bookstore, Parnassus Books.
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20 Classic Works of Gay Literature
In honor of the U.S. District Court’s striking down of Proposition 8, Carolyn Kellogg at Jacket Copy lists 20 classic works of gay literature. (via AuthorScoop)
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A Detestable Dichotomy
Paulo Coelho recently condemned Ulysses for being all style and no content. In response, Ali Smith makes the case for style.
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