Bret Easton Ellis, via Brooklyn Vol. 1

Embrace hyperbole, and steal jargon from other professions—Darryl Campbell offers some advice for making book reviews sound less generic.

In honor of the temporary debt ceiling resolution, The Guardian runs a quiz about debt in literature.

Bret Easton Ellis, the author of the satire-slash-horror novel Lunar Park, and Paul Schrader, the screenwriter who brought you Taxi Driver and Raging Bull, are teaming up to produce a “shark-infested psychological horror” movie called Bait. (On a related note: at htmlgiant, Blake Butler writes an excellent meditation on the "humanity" of Ellis's American Psycho, which was published almost 20 years ago.)

The latest installment of the Neiman Journalism Lab’s “Why’s This So Good?” feature: Jay Kaspar Kang on Alma Guillermoprieto’s “Letter from Bogota.”

Our favorite trending literary Twitter hashtag #bookswithalettermissing


Jorge Luis Borges in Buenos Aires

The love that dare not write its name? Alex Ross examines how multiple versions of The Picture of Dorian Gray “show Wilde deciding, sentence by sentence, just how far he would go” in his depiction of homosexual love.

Exciting news for literary procrastinators: Borges’s 1967-1968 Harvard Norton lectures are now available online. Nearly completely blind at the time—he could only see yellow, “the color of the tiger”—Borges delivered the talks (which were nominally about poetry, generally about literature, translation and memory) without the assistance of aide-mémoires.

A letter attributed to Lord Byron in the National Historical Park Museum in Morristown, New Jersey, has turned out to be a fake. “As for the contents, they seemed too good to be true, and more ‘Byronic’ than Byron himself,” the researcher who uncovered the forgery told museum curators.

Tao Lin claims that his drawing of a whale-sized Xanax was rejected by the New Yorker.

A Dutch typographer has developed a font for dyslexics.


Morrissey, super-hero: a still from a potential comic book series based on the Smiths frontman.

Longtime Los Angeles Times book critic Richard Rayner is moving his column to the scrappier (and, for now, online-only) Los Angeles Review of Books.

The American Scholar publishes ‘The New Generation,’ a previously un-translated story by Aleksandr Solzhenitsyn.

“The concept is pretty simple,” says the creator of a forthcoming anthology of comics inspired by The Smiths: “What’s the story that plays in your head when you listen to your favorite Smiths song?”

With Atavist, Byliner, and other long-form publishing platforms coming into vogue, the Los Angeles Times wonders, “is long-form nonfiction making a comeback?”

What should Martin Amis do in Brooklyn? Slate has some suggestions.


Longshot—a publication that corrals “thousands of writers, editors, artists, photographers, programmers, videographers, and other creatives from all around the world” to put together a magazine in 48 hours—has released its second issue, on debt.

How similar is literary writing to the spoken vernacular? Ben Zimmer goes digging through the Corpus of Contemporary American English to come up with an answer.

Filmmaker Terry Gilliam is working on an adaptation of Paul Auster's novel Mr. Vertigo.

Despite the demands of higher education and anxiety about the internet, Alan Jacobs argues that “serious ‘deep attention’ reading has always been and will always be a minority pursuit, a fact that has been obscured in the past half-century.”

When author Malie Meloy was ten, she asked her parents for a bike. They agreed—on the condition that she read ten classic novels and write book reports on them.

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