Hey folks. I'm back from the honeymoon, sunburned and with my energy replenished. My inbox is full and I have much to write about so stay tuned. To start, here's a mysterious book question I received from Vicki:Looking for a book. Think it was called Rose Manor? Fiction, About a woman that is married to a police officer that beats her and she runs away and hides. She changes her name and he sets out to find her to kill her. She goes to a shelter that helps her get a job and a new home and identity. She buys a painting that comes alive, and she finds that out because there are crickets that come out of the painting. There is also a woman in the painting that moves around. The lady in the book also gets a job reading books to be put on tape. Does anyone know what this book is? Please help.Well, your description sounded familiar to me, but a title search turned up nothing. Then it hit me. Only Stephen King would combine violence and the supernatural in the way you describe. You almost had the title; it's King's 1995 best seller, Rose Madder.
Somehow I waited two months to take a look at the "best of 2003" column from my favorite book critic Jonathan Yardley. For him 17 rather interesting books make the cut, and his two picks for best of the year are The Known World by Edward P. Jones and Gabriel Garcia Marquez's memoir Living to Tell the Tale. Both of these are on the reading queue, and I'm very much looking forward to reading them. Here is Yardley's column.
Books from their own imprint we hope. "In the last decade, in fact, the celebrity imprint has become something of a cottage industry, an endeavor mutually beneficial to publishing houses in pursuit of stars and their lucrative fanbases and celebrities looking for another feather in their cap." Some of the celebrities on this list might surprise you, read on to learn about which ones have a publishing imprint.
Jacob Silverman reviews two new novels – Note to Self and The More You Ignore Me – that “take on one incarnation of the Internet: the Internet as pathology” but ultimately fail to succeed “in exploring or critiquing digital life with any authority.” He notes that “like any technology, [the Internet] has to be shaped for the purposes of literature.”