When we set out to see a film or TV adaptation of Jane Austen’s work, we usually expect a fair amount of bonnets, coy smiles, and men in cravats. For the Atlantic, Helen Lewis looks at more recent Austen adaptations that are turning those expectations on their heads: “These new adaptations make a simple case: Costume dramas are not about wallowing in nostalgia, and Austen was not writing straightforward romances. Sanditon, for example, has an ‘acerbic, screwball tone,’ according to its director, Olly Blackburn—in it, Austen was trying something new. ‘It’s like [Bob] Dylan going electric,’ he told me.”
It’s time to clear out a little spot on that bookshelf because this one is sure to impress your literary friends. Among a few other incredible books up for sale by a London bookseller is this copy of T.S. Eliot’s The Waste Land. It is one of the original 460 copies hand printed by Virginia and Leonard Woolf, and it is signed by Eliot to the doctor who treated him at the clinic in Laussane where the poem was written. Good thing you’ve been saving up.
Lorrie Moore, who we profiled yesterday, has a new story collection on shelves this week. Also out: Kinder Than Solitude by Yiyun Li; What’s Important is Feeling by Adam Wilson; Wonderkid by Wesley Stace; and MFA vs. NYC, a new essay collection (spun off from an n+1 piece) edited by Chad Harbach.
Recently I reported on the launch of Two Dollar Radio Moving Pictures, a cinematic venture from the indie publishers in Ohio. Since then, a pair of teaser trailers have been released for the first films in the organization’s pipeline. One is for The Greenbrier Ghost, which was co-written by Crapalachia author Scott McClanahan. The second is for The Removals, and it was directed by Orange Eats Creeps author Grace Krilanovich. (A few years back I gave TOEC some love in my Year In Reading post.)
“There is one rule [to writing biography] that all who try their hand at it come to know: until the protagonist reveals his or her character—his or her inner self—what the biographer produces is less a life than a report, an autopsy rather than the record of a séance.” David Levering Lewis writes for The American Scholar about biography and writing “the lives of African-American figures, and [finding] in them the story of our times.”