Joe Pinsker looks at the question of “why some people grow up to derive great pleasure from reading, while others don’t.” Here’s no surprise: “a chief factor seems to be the household one is born into, and the culture of reading that parents create within it.”
“Since Reese’s Book Club launched in 2017 in partnership with the actress’s media company, Hello Sunshine, it has become an industry phenomenon with the power to catapult titles to the top of the bestseller lists.” According to the article, “Reese really picks the books.”
James Parker, a staff writer for The Atlantic, praises English novelist Mick Herron on the publication of his latest novel, Joe Country. “Mick Herron writes about the broken spies sworn to protect today’s broken England,” the article’s subtitle proclaims.
“Like John le Carré—with whom he has been much compared—Herron is obsessed with that area of human experience, that area of the human brain, where paranoia overlaps with an essential, feral vigilance.”
Here’s another look at the age-old, ever-recurring question of the distinction between literary fiction and genre fiction.
This omnivorous selection of stories chosen by series editor John Joseph Adams and World Fantasy Award finalist Machado is a display of the most boundary-pushing, genre-blurring, stylistically singular science fiction and fantasy stories published in the last year. By sending us to alternate universes and chronicling ordinary magic, introducing us to mythical beasts and talking animals, and engaging with a wide spectrum of emotion from tenderness to fear, each of these stories challenge the way we see our place in the cosmos.
Harvard Ph.D. candidate Manvir Singh discusses what he calls the sympathetic plot, which pervades world literature and controls how we respond to stories. One common trope of the sympathetic plot is the story of orphans, “parentless protagonists [that] are everywhere.”
© 2019 by Mary Daniels Brown