The Best Books of 2011 « Genreville.
Publishers Weekly’s editors’ choices of 2011′s top books in the genres of science fiction, fantasy, and horror.
The Best Books of 2011 « Genreville.
Publishers Weekly’s editors’ choices of 2011′s top books in the genres of science fiction, fantasy, and horror.
But wait, there’s more! In a follow-up to their earlier list of the year’s top 10 books, Publishers Weekly offers a more complete listing, separated by genre or by adult/children’s books.
And over here you can vote on your favorite of PW’s top 10. The choices are:
We all need a little variety in our lives, so this week’s Monday Miscellany is a bit different than usual. Instead of linking to specific articles, today I’m linking to web sites that provide information for bibliophiles.
The LOS ANGELES REVIEW OF BOOKS is now in preview mode, while our full site is being built. Here we are posting once a day in standard blog style, while the full site is designed to exploit the latest online technologies in ways that respond to a significantly transformed publishing world.
The great tradition of the American comprehensive book review, in magazine and newspaper form, has been in its death throes for years. The disappearance of the newspaper book review supplement (papers in Atlanta, Boston, Chicago, Des Moines, Los Angeles, New York, San Francisco, Seattle, Washington and elsewhere have shuttered or radically shrunk theirs) has been accompanied by an explosion of titles in the book market. The net result: twenty times as many titles are published each year than were a quarter century ago, and we have one twentieth of the serious print book reviews. They have been replaced in partial ways by web-based reviews, many of them crowd-sourced or user-generated forums for book talk. There are many excellent websites, too, and numerous blogs, some also of the highest quality (and we hope to have deep linking relationships with the best of them), but very little in the way of full-range book reviewing, covering everything from architecture to YA, from academic monographs to genre fiction, and from the latest publications to classic texts — rigorously edited, carefully curated, deeply informed discourse by experts in their respective fields — has been mounted to take the place of the dwindling comprehensive print reviews.
Welcome to The Millions, an online magazine offering coverage on books, arts, and culture since 2003. The Millions has been featured on NPR and noted by The New York Times, The Los Angeles Times, and The Village Voice, among others.
The Rumpus.net is an online magazine focused on culture, as opposed to “pop culture.” Pop culture can be hard to define and the term means different things to different people. Basically, we’re not opposed to things that are popular, but we have no interest in “art” created by marketing executives. And we have no interest in derivative art, like images of famous people made from shoelaces or Star Wars characters in funny wigs.
The site for die hard crime & thriller fans
Crime Fiction Lover was set up by two journalists who love reading crime stories – everything from atmospheric noir to pulp thrillers. The rise of Kindle, eBooks and iBooks interests us a great deal. We hope to discover and share some of the best reads on these new formats, but by no means will we overlook traditional print. There’s nothing like the feel and smell of a freshly printed book.
Metapsychology features in-depth reviews of a wide range of books written by our reviewers from many backgrounds and perspectives. We update our front page frequently and add more than forty new reviews each month.
The Story Circle Network is dedicated to helping women share the stories of their lives and to raising public awareness of the importance of women’s personal histories. We carry out our mission through publications, a website, classes, workshops, writing and reading circles, and woman-focused programs. Our activities empower women to tell their stories, discover their identities through their stories, and choose to be the authors of their own lives.
The official blog of The Library of America
The Library of America, a nonprofit publisher, is dedicated to publishing, and keeping in print, authoritative editions of America’s best and most significant writing.
New Directions in the Humanities
an international conference, a scholarly journal, a book series, and an online knowledge community
An Online Magazine on the Psychology of Fiction
Founded in January of 2011, Full Stop is committed to an earnest, expansive, and rigorous discussion of literature and literary culture. Despite the popular critical sentiment that the “death of the novel” is upon us, we submit that the opposite is true and refute the fatalism inherent in a narrative that threatens to ignore the diversity and quality of contemporary fiction. Additionally, because literature’s fallen state is tacitly assumed to be symptomatic of a failing on the part of our generation — not only a suspicion of our contemporary fiction, but also of our contemporaries — we find this criticism both condescending and rather silly.
Full Stop aims to focus on young writers, works in translation, and books we feel are being neglected by other outlets while engaging with the significant changes occurring in the publishing industry and the evolution of print media. We also want to provide a space where older works of fiction — whether they be forgotten, ignored, or simply deserving — can be reexamined and celebrated. While our focus will be on contemporary literature and literary culture, we feel that current discourse is enriched and enlivened by engagement with its literary past.
It’s time to trade in the beach reads for the usually longer and more serious fall reads. The Sacramento Bee‘s Allen Pierleoni lists upcoming new titles, some by big-name authors (think Joan Didion, Lee Child, Stephen King, Alice Hoffman, and Sue Grafton ) in both fiction and nonfiction.
Lionel Shriver, author of, among other novels, We Need to Talk about Kevin, discusses the flawed main characters that she has often been reprimanded for creating. Shriver distinguishes her characters from both villains and anti-heroes: “flawed main characters, neither villains nor anti-heroes, [are main characters] whom the author has deliberately, even perversely contrived as hard to like.”
Most famously in my own work, Eva Khatchadourian, the narrator of We Need to Talk About Kevin, is hard to like: a woman whose world travels make her feel superior to her American compatriots, who experiences pregnancy as an infestation and, worst of all, who fails to love her own son.
Shriver argues that a character’s likeability comprises two components, moral approval and affection, and “Readers often get approval and affection confused.” She asks, ” do we always want to read about characters who conform to current political conventions—who don’t smoke, never say anything bigoted, and always recycle their yogurt pots?” Such “nice” characters would be easy for the writer to recreate, she says, but would we truly want to read about only these paragons?
Goodness is not only boring but downright annoying. In fiction and reality both, multilingual, loftily-educated ponces on missions to save the rainforest are probably pains in the bum. Thus, however readily I might construct exemplars who pick up litter and volunteer at soup kitchens, this cheap courting of your approval might well backfire. Despite my heavy-handed stacking of the moral deck, you wouldn’t like them. Nick Hornby made exactly this point in his delightful novel How To Be Good, in which the main character’s determination to be virtuous—he gives away the family assets and invites homeless people to live in the house—is delectably repellent.
Creating only nice characters is not an accurate representation of life:
Because in real life, people are not always perfectly charming. I try to duplicate in fiction the complex, contradictory, and infuriating people I meet on the other side of my study door. When fiction works, readers can develop the same nuanced, conflicted relationships to characters that they have to their own friends and family. I’m less concerned that you love my characters than that you recognise them. Human beings have rough edges. Authors who write exclusively about ethical, admirable, likeable characters are not writing about real people.
Her flawed main characters are interesting, Shriver says, and
readers want to be engaged even more than they want to be seduced. When purely affectionate and approving, a reader’s relationship to a character is flat. When positive feelings mix with censure and consternation, the relationship is dynamic. In fact, authorial elicitation of the reader’s frantic if impotent warning, “Oh, no, don’t do that!” is a powerful literary tool, for dismay generates energy and intensifies engagement. In Kevin, I made Eva’s husband Franklin deliberately exasperating—see-no-evil, he refuses to recognize his son’s growing malice—because this “What a dupe! Wake up, buddy!” reaction is involving and oddly enjoyable.
My own view is that liking or disliking a literary character is not the point; understanding the character is what’s important. When writers do their jobs well (as Shriver does in We Need to Talk about Kevin), we understand who the characters are and why they do what they do. At their root, all good stories require conflict, and conflict arises from characters who are less than perfect. Or, as Shriver puts it, “Good stories require mistakes.”
Sandra Gilbert (both individually and with her collaborator Susan Gubar) has played a long and distinguished part in the rethinking of the teaching of English literature. The title of the first major Gilbert and Gubar collaboration, The Madwoman in the Attic, has become shorthand to indicate all those questions that once were not asked about fiction. Since that book’s publication in 1979, all kinds of silences have been broken as women have become central figures both as subjects and as critics in the academic study of literature.
Mary Evans discusses Rereading Women: Thirty Years of Exploring Our Literary Traditions:
Rereading Women is a collection of previously published essays dating from 1977 to 2008, with new material limited to an introductory essay that describes how Gilbert began her collaboration with Gubar and became a professional academic. It is written within the standard assumptions of second-wave feminism in which, to paraphrase, the people who lived in darkness (particularly the darkness of the US in the 1950s) saw a great light in the early 1970s.
Evans discusses Gilbert’s work in its relation to university curriculums, to what is chosen for study and how it is studied.
this collection has one very considerable merit: it situates the reader at the centre of the reading of literature. The work that Gilbert did, both in the classroom and the study, was essentially democratic: she wanted the people she was teaching to engage with literature and through it find not the voices of authoritative “great traditions”, but their own voices.
When she, and Gubar, introduced the idea of the woman locked away in an attic by people for whom her existence was inconvenient, they introduced an idea into the curriculum that encouraged the recognition of other forms and occasions of silencing.
Nine seems to be this week’s lucky number.
A pilgrimage is the focal point around which a journey wraps, not the raison d’etre per se (that is the journey itself) but rather the pulley on the far end of the rope that ratchets you out of your home and into the search for your loved one. . . . here are a possible pilgrimage sites around the world that have played a significant role in the shaping of Western literature.
Read why David Joshua Jennings and John McCarroll chose these nine sites:
As an added bonus, there are links to four additional literary-related excursions at the end of the article.
Recent trends include the emergence of specific “Literature Hotels,” where the focus is all on reading, books, literature, authors and more. Here are nine unique hotels and resorts where words, sentences and paragraphs become part of the amenities.
#1: Literaturhotel Friedenau (Berlin, Germany)
#2: Literature and Art Hotel (Shanghai, China)
#3: Boutique Hotel Stadthalle (Vienna, Austria)
#4: Eleonas Agrotouristisches Hotel (Greece)
#5: Hotel Hof Weissbad (Switzerland)
#6: Mas La Colline (France)
#7: The Algonquin (New York)
#8: Hotel Marini (Italy)
#9: Hotel Kafka (Madrid, Spain)
Elizabeth Minkel writes in The New Yorker about what book reviews, or literary criticism, really mean in today’s social media society, where anyone can post a review of anything, a review based on only unexplained personal preference. To counter such “drive-by reviewing,” she turns to a British collection of essays released earlier this year, The Good of the Novel, which is now being published in the U.S.
Paraphrasing the editors’ introduction, Minkel writes that The Good of the Novel posits that
a good novel is the kind that knocks your entire world-view off its axis, that wholly encompasses you and leaves you feeling bereft at the final page. What makes these pieces so interesting is that they adhere to the idea that “each novel writes its own constitution,” judging these books against the rules their authors have laid out for themselves at the onset, rather than some broad terms on which any novel can be judged. Unlike the drive-by review, the critic is mainly concerned with the writer, not the reader.
What do you look for in a good book review?
Do your bookshelves show that you are a widely read and intelligent individual? Or is the story somewhat different?
A survey suggests the average Briton owns 80 books which they haven’t read but are there only to make them look more intellectual.
The research found that 70 per cent of books in the average bookcase remain unopened, and four in ten of those questioned confessed that their works of literature were purely there for display purposes.
The research further discovered that Britons keep the classics on display–Jane Austen’s Pride and Prejudice tops the list–even if they’ve never opened the books. These same people own “trashy novels” they would never put on display: “The top five ‘guilty pleasure’ authors are Sophie Kinsella, Jodi Picoult, Jackie Collins, Helen Fielding and Danielle Steele.”
I wonder if research in the United States would turn up similar trends. Don’t we all, at times, carry around a book we’re not really reading just to impress people, or put a cover on a book we are reading so no one will see what it is?
Five judges of the 2012 Wellcome Trust book prize for medicine in literature ponder the question “What makes for a great literary death scene?” Tim Lott calls their choices “eclectic.” Take a look, and see if you have other favorite death scenes to add to the list.
Here’s another list, this one in pictures.
Writing in the Huffington Post, high school English teacher Steve Terreri suggests that school may be contributing to rather than stemming the decline of reading by American adults. He argues that classrooms try to turn reading, which is essentially a personal and solitary activity, into an act of social conformity:
Reading a book or story or poem or play on one’s own is a peculiarly individual experience. No other medium comes to mind so absent of social or communal qualities, and considering the collective genius currently available in books on every imaginable subject, I’ve often speculated that the modern classroom’s entire reason for being is to translate individual learning experience into social consensus or application.
Terreri concludes:
Considering how wide the differences between reading on one’s own and reading in a class are, I’m interested in how educators might take some aspects from the former to let high school students read just to read and still not only foster literacy but stimulate interest in literature.
Best-selling author James Patterson weighs in on the issue with CNN:
Sorry, moms and dads, but it’s your job — not the schools’ — to find books to get your kids reading and to make sure they read them.
Patterson says that boys especially need encouragement to read: ” Boys should be made to feel all squishy inside about reading graphic novels, comics, pop-ups, joke books, and general-information tomes.” He encourages family members as well as sports and entertainment superstars to model reading.
Of course Patterson has a vested interest in encouraging youngsters to read. But this article is refreshingly free of self-promotion. It also contains links to many organizations where parents and schools can find information to help them promote reading among children.
In honor of the American Library Association’s annual Banned Books Week, celebrated last week here in the U.S., Word and Film offers its own list:
Be sure to visit this site, which provides the official trailer for each film.
Also in honor of Banned Books Week, Salon writer Laura Miller—facetiously, of course—asks:
Where were these censors when we really needed them — that is, when our 10th-grade teachers assigned “Beowulf” or “The Pearl”? As deplorable as real-life book banning may be, there’s some required reading that those of us at Salon would love to see retired from the nation’s syllabuses simply because we were tortured by it as kids.
Remember Silas Marner? How about Green Mansions? See what books Salon editors remember with distaste. And then take a look at some of the many comments left my readers. They provide an informative exchange.
Glendale school board may block ‘In Cold Blood’ – latimes.com
The landmark 1966 literary nonfiction book “In Cold Blood” by Truman Capote may not make it onto a high school honors reading list in Glendale after obections were raised by a committee made up of school principals. The school board must approve the book before it can be taught; “I think ‘chilling’ is far too benign a word to use,” school board member Mary Boger said of it.
An 11th grade teacher has requested permission to add In Cold Blood to her Advanced Placement class reading list.
Since this is such a pivotal work in literary history, students who have not read it will be at a decided disadvantage when they take the AP exam.
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