Google & the Future of Books:
How can we navigate through the information landscape that is only beginning to come into view? The question is more urgent than ever following the recent settlement between Google and the authors and publishers who were suing it for alleged breach of copyright. For the last four years, Google has been digitizing millions of books, including many covered by copyright, from the collections of major research libraries, and making the texts searchable online. The authors and publishers objected that digitizing constituted a violation of their copyrights. After lengthy negotiations, the plaintiffs and . . . continue reading, and add your comments
It would not by hard to kill a significant fraction of your weekend at The Book Cover Archive.
Boston Review, "Worldmaker: Remembering Thomas Ditsch":
Like all writers attempting to make a living in that genre, he knew very well what status it had in the great world of literature—a separate file drawer, Kurt Vonnegut remarked, that critics seem to mistake for the urinal. On the other hand, Disch held no real brief for the form as it came to him from the masters—quite the opposite. His 1998 dissection of SF, The Dreams Our Stuff Is Made . . . continue reading, and add your comments
A piece of short fiction from Tranquility author Attila Bartis is available in English at Hungarian Quarterly
Madrid’s Prado museum becomes the first one that you can tour with Google Earth.
An interview with one of Penguin Classics’ designers:
Please elaborate on your process of gathering typographical inspiration for the Boys Own Books series.
CBS: I spent a lot of time in the London Library printing and typography section. It’s a great place. It was there that I re-kindled my love of Nicolete Gray, one of the few female typographers in . . . continue reading, and add your comments
(thanks to Alex Ross)
The Nation, BookExpo 2012, Los Angeles, wherein the future is, for once, not nearly so bad as the present, and the neo-cons prove to be publishing’s salvation:
If I Did It, by George W. Bush Early in President Bush’s administration, when his reign seemed catastrophic merely for humanity at large and not equally so when measured by his own nominal aims, there commenced a lively debate among progressives about whether Bush was as unreflective and intellectually stunted as he appeared to be or if he was, . . . continue reading, and add your comments
Recreating a Disaster–William Blake at the Tate:
"Blotted and blurred and very badly drawn," sneered the Examiner – which, with its progressive politics, was in some ways the Guardian of its day. "The poor man fancies himself a great master, and has painted a few wretched pictures." The critic – the only reviewer of Blake’s 1809 exhibition – reserved, if possible, a more splenetic vocabulary for the catalogue, which Blake also wrote. "A farrago of nonsense, unintelligibleness, and egregious vanity, the wild effusions of a distempered brain," the Examiner thundered.
History has . . . continue reading, and add your comments
More Intelligent Life:
Among the most famous was Cyril Power, an extraordinarily creative printmaker, born in 1872, who soaked up Flight’s enthusiasms and gave them new force. Power drew on many influences–the German Expressionists (who invented linocutting before the first world war), the Italian Futurists, the Vorticist prints and paintings of Wyndham Lewis–and the enthusiasm for speed and movement that marked the work of so many artists of the period, from Natalya Goncharova to Marcel Duchamp.
Alex Ross’s Favorite Leonard Bernstein Recordings
More . . . continue reading, and add your comments
The Quarterly Conversation: Issue 14
Some items you might have missed:
Listen to our audio interview with Aleksandar Hemon. Carter Scholz, writing in the tradition of William Gaddis and Richard Powers: Scholz’s familiarity with his material has led some readers to assume he is a disgruntled nuclear physicist. But his background is in science fiction, not science, with a record of published shorter works stretching back over 30 years (representative samples are collected in the 2003 collection The Amount to Carry). He has also collaborated with Glenn Harcourt on the novel Palimpsests (1984) and with Jonathan . . . continue reading, and add your comments
LRB, Double Thought by Michael Wood, which weighs whether or not Kafka’s office work was a wellspring of his fiction:
Where did Kafka learn to think like this? A case could be made that he found his training not in his intricate psyche or in his horrified commitment to writing – ‘the service of the Devil’, he called it – but in his day job at the Prague Institute for Workmen’s Accident Insurance. Born in 1883, he trained as a lawyer, worked briefly for an Italian insurance company in Prague, the Assicurazioni Generali, and then in 1908 . . . continue reading, and add your comments
The Jewish Quarterly, "Irène Némirovsky and the Death of the Critic" by Tadzio Koelb. The rebirth of the author becomes the death of the critic:
The publishers of Suite Française take little credit for its market success, but some details of the marketing campaign suggest this is false modesty. It would be an understatement to suggest that Suite Française enjoyed a much larger marketing budget than most foreign work; it was, in fact, Chatto & Windus’s second largest budget for that year; posters were displayed in the London tube, a series of major trade promotions were pursued . . . continue reading, and add your comments
Joan Miro: “I want to assassinate painting. I intend to destroy, destroy everything that exists in painting. I have utter contempt for painting.”
NYRB: Two Paths for the Novel, wherein Zadie Smith argues persuasively against the exact kind of novel she’s been trending toward.
From two recent novels, a story emerges about the future for the Anglophone novel. Both are the result of long journeys. Netherland, by Joseph O’Neill, took seven years to write; Remainder, by Tom McCarthy, took seven years to find a mainstream publisher. The two novels are antipodal—indeed one is the . . . continue reading, and add your comments