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?
“But we are lured into believing that the first person is the manifestation of an authentic self. Or: we fall for the first person because we feel so little coherence in our own internal lives, and immersing ourselves in a sustained first person narrative gives us the false reassurance of an illusion.”
As part of the ongoing Miami Book Fair International festivities, WLRN is giving readers a chance to co-author a story with Junot Díaz. Beginning at 5pm today, they will tweet out the first line to a story—provided by Díaz—from their Twitter account. Then readers will use the hashtag “#WLRNStory” to add onto Díaz’s line, and later each other’s lines, and ultimately the entire thing will unfurl before them.
The Toronto Public Library is running an innovative program wherein, in addition to books and other types of media you might expect, you can also check out people; specifically, this Human Library gives you access to folks with an interesting job or story to tell, like a journalist, a Buddhist monk and a cancer survivor.
At The Chronicle of Higher Education, Rachel Toor channels George Orwell, immortal champion of good writing in English, to help young scholars avoid the ghastly prose style that dominates contemporary academic writing.
For Public Books, Matthew Clair considers authoritative black knowledge in intellectual practices and “the logic of racial authenticity,” which “stipulates both that black intellectuals have a particular responsibility to represent, in both senses of that word, ‘their’ people, and that, as racial insiders, they are uniquely capable of doing so.”