You may remember that Swedish author Stieg Larsson dropped dead shortly after delivering the manuscript of the third novel in what has come to be called his Millennium trilogy. His long-time live-in companion, Eva Gabrielsson, said that his laptop contained a nearly completed manuscript of a fourth book in the series. She and Larsson’s family fought in the courts over possession of the laptop and its contents, but because Gabrielsson and Larsson were never married, his family got the prize.
Now comes word that the official launch of the fourth book, The Girl in the Spider’s Web, will take place on August 27. (The Swedish title of the novel translates as That Which Doesn’t Kill Us.) The book has been written by Swedish author David Lagercrantz. Gabrielsson isn’t happy about the takeover of Larsson’s work:
“This is just business, because you know the publisher has been in financial crisis for a couple of years,” she says. “It’s all a question of money.”
Swedish publisher Norstedts is going to great lengths to keep the contents of the book a secret. Lagercrantz and the many translators all worked on laptop computers not connected to the internet, and the publisher is not issuing any advance copies. Critics and ordinary readers alike will have to wait until the official release date to find our what’s new in the life of Lisbeth Salander.
Every Grateful Dead Song Annotated in Hypertext: Web Project Reveals the Deep Literary Foundations of the Dead’s Lyrics
The online annotated Grateful Dead also includes “Thematic Essays,” a bibliography and “bibliography of songbooks,” films and videos, and discographies for the band and each core member. There may be no more exhaustive a reference for the band’s output contained all in one place, though readers of this post may know of comparable guides in the vast sea of Grateful Dead commentary and compendiums online, in print, and on tape… . the proliferating, serious study of their songcraft and lyrical genius shows us that they will, indeed, survive.
“College professors often reach for classic science fiction when they’re planning classes on literature, society or philosophy.”
The texts students are likely to find listed on their course syllabi include the following:
- The Handmaid’s Tale by Margaret Atwood
- Slaughterhouse Five by Kurt Vonnegut
- Lilith’s Brood by Octavia Butler
- Watchmen by Alan Moore and Dave Gibbons
- Brave New World by Aldous Huxley
- A Princess of Mars by Edgar Rice Burroughs
- Do Androids Dream of Electric Sheep? by Philip K. Dick
- Frankenstein by Mary Shelley
- Dhalgren by Samuel Delany
- 1984 by George Orwell
- Neuromancer by William Gibson
I read Brave New World and 1984 in college and Frankenstein in graduate school. A few others I’ve read on my own: Slaughterhouse Five, The Handmaid’s Tale, and Neuromancer.
How many of these books have you read, either for a course or on your own?
Richard Adams’s famous novel Watership Down came along well after I was an adult, and I have yet to read it, although it’s on my Classics Club reading list. But I found it interesting that Richard Adams did not make everything up.
Rather, Adams based his novel on research done in Wales by Ronald Lockley in the 1950s. Concerned about the spread of a rabbit disease called myxomatosis, the British Nature Conservancy sponsored research into the life of rabbits. Lockley watched and recorded the behavior of rabbits living in a warren behind a glass window. Lockley published his findings first in a scientific journal, the Journal of Animal Ecology, in 1961. He then expanded the work into a book, The Private Life of the Rabbit, published in 1964.
Adams based much of his rabbit society on Lockley’s book, although the novel includes some anthropomorphization not supported by Lockley’s study. But Adams consulted Lockley, and the two became friends.
Lucy Scholes describes Irish author Edna O’Brien as “an astute chronicler of female interiority.” O’Brien’s first novel, The Country Girls, was first published in 1960. But the focus of this article is O’Brien’s recently published The Love Object, a collection of 31 short stories that span her career.
According to Scholes, many of the female characters in these stories “are alienated due to a deep sense of unfulfillment, sacrificed to marriage or motherhood.” And “Many of the stories hinge on similar moments of realization that silently shake the very foundations of their subjects’ worlds.” Overall:
One of the wonderful things about The Love Object is how one can trace the developments in O’Brien’s career through its pages, watching the subtle shift between these earlier narratives of female experience and her later work that addresses the broader issues of Irish history and politics.
I keep discovering new authors whose works I’d like to read. So many books, so little time…