Posts Tagged: Josh Cook
There’s always Stephen’s classic hangover cure, “The Cabman’s Kickstart.” Simply stare with weary ennui at a stale dinner roll while insulting a cup of coffee.
Over at Melville House, resident Joyce expert and author of An Exaggerated Murder, Josh Cook, is impersonating Ulysses’s hero, Leopold Bloom, and answering your most distressing questions in a new monthly advice column....more
Saturday 2/28: Tom McCarthy reads Satin Island, a novel about writing the Great Report. 192 Books, 7 p.m., free.
Sunday 3/1: Joanna Fuhrman, Shelley Marlow, and Elissa Ball celebrate new books by Fuhrman and Marlow....more
Amazon and Hachette appear to have entered into a war of attrition, a battle that Hachette, with a more limited budget, is surely going to lose. Alone, Hachette will fall. News that Simon & Schuster easily signed a deal with Amazon was a major blow—and that might just be exactly what Amazon is counting on, proposes Josh Cook over at Melville House....more
It was strange. Volume One of Karl Ove Knausgaard’s six-volume memoir/novel was, with one traumatic exception near the end, the story of a typical young man. He had a typical childhood broken up only by a typical divorce. He was a typical teenager; excesses of emotion, dreams of stardom, and experimentation with substances....more
The Word on the Street is not Pulitzer Prize winner Paul Muldoon’s first work of writing for music. He wrote librettos for four Daren Hagen operas; Shining Bow, Vera of Las Vegas, Bandanna, and The Ancient Concert and worked in rock ‘n’ roll, writing for The Handsome Family, collaborating with Warren Zevon, and playing in and writing for two other bands; Rackett and The Wayside Shrines....more
Gabriele D’Annunzio wrote Notturno on strips of paper big enough for just one line a piece, while his eyes were bandaged into near blindness, as he convalesced for over two months from an eye injury. As Virginia Jewiss writes in the preface, “…Notturno offers one of the most extraordinary stories of literary creation ever conceived.” I prefer to first experience a work in a kind of vacuum, with as little knowledge of the author’s life and context of composition as possible....more