If you didn’t know much about the Dalkey Archive, other than that it sounds like it’s named after a novel by Flann O’Brien, you will find this news article from the Irish Independent handy. It’s good to know who is the leading independent publisher of translated works in Europe, after all. (And they’ve just opened an office in Trinity College, Dublin, too.)
ReadWriteWeb offers some analysis of Amazon’s proposed Lending Library, suggesting, among other things, that it might spell the death of Epub as a format.
Interpretation and ambiguity are at the heart of the story of the Passion. By striking out into new territory beyond the confines of the biblical material, we’ve tried to keep open this interpretative space and have used inversion to do so.
While Jesus came to preach, our Teacher has come to listen.
Jesus was famous before he entered Jerusalem; our Teacher is unknown, a mystery. And while Jesus prophesies what will happen to him, our Teacher arrives in town with his memory gone.
The aspect of Jesus’ ministry that has most powerfully come to the fore in The Passion has been his ability to see and hear the marginalised. Given the setting of our play, this is particularly appropriate: if Port Talbot were a person, it would be one of those people.
Set in beautiful natural surroundings, it’s a town that’s been choked by industry and unthinking development.
I know of Sheers because of his wonderful poetry series for the Beeb, A Poet’s Guide to Britain, which I own on DVD. (Described on this page, scroll down. His website has many more terrific links to follow…)
This is not the first time someone has married art and microbiology. In 2003, US scientists inserted a DNA translation of the song “It’s a Small World” into D radiodurans to show that the bacterium could be used as a means of information storage in the event of a nuclear catastrophe.
Last year, the American genetic entrepreneur J Craig Venter coded a line from A Portrait of the Artist as a Young Man – “To live, to err, to fall, to triumph, to recreate life out of life” – into DNA, only to receive a cease-and-desist letter from the notoriously litigious James Joyce estate.
The AAP suggests that this surge is a continuation of post-holiday sales, as people buy e-books to load onto the e-readers they received as gifts. Whether or not this trend will continue long after the novelty of new tech toys wears off remains to be seen.
What’s also worth watching: not simply the sales of new titles, but the renewed consumer interest in old titles, backlisted books that have been in print for over a year but that people want to buy, again, to load onto their new e-readers.
Congratulations to Pro Publica, whom I have been following on Twitter for a few months now after a tip from Jay Rosen:
This is ProPublica’s second Pulitzer Prize in as many years. Last year, ProPublica reporter Sheri Fink won a Pulitzer for Investigative Reporting for her article “The Deadly Choices at Memorial,” on euthanasia at a New Orleans hospital in the wake of Hurricane Katrina, published in partnership with The New York Times Magazine. This was the first Pulitzer Prize ever awarded to an online news organization. This year’s Prize is the first for a group of stories not published in print.
Cleo was a translating machine. The women’s liberation movement was mainly in the hands of educated middle class women who used the language of revolution. Most ordinary women found this terrifying.
It took a magazine like Cleo, with an inspired and inspiring editor, a supportive mainstream publisher in Kerry Packer, a talented staff who tapped into the young and liberatory zeitgeist of the seventies, to take the threat out of feminism and sex, and package politics in the pleasurable pages of a glossy magazine.
Cleo changed everything? Well, no. But it proved that the right media format, for the right audience at the right time, could do something that the feminist movement struggled with.
Cleo made feminist ideas popular, often without using the f-word. And it helped influence generations of women (and men) who now take the basic feminist agenda of equal rights for women, in and out of the bedroom, as common sense. The politics of pleasure can be a powerful thing.
“She is prolific and consistent if not as widely read as she should be. Her writing follows troubled men and women, overcome by an everyday assault of ephemera, whether external, as in the sleepless New York City night that is the premise of her novel No Lease on Life, or personal, like the narrator’s fascination with her own skin in American Genius. Her stories contain less of a plot than a scattered mind jumping from one association to the next.”—
I went along to this mainly because I needed to get out of the house - I haven’t quite finished reading the essay even now, but I am rather pleased that Goodall picks up on something I had felt uneasy about:
There’s something a little uncomfortable about this use of the pronoun “we.” Perhaps it’s a reasonable assumption that the Quarterly Essay will not find its way to a cell in a gulag, but many of its readers will have circumstantial constraints on their sense of wellbeing. No one is immune to accident, illness, natural disaster or the sudden loss of livelihood. The conditions of unhappiness Malouf evokes on his first page are all historical: the medieval farmer at the mercy of famine, plague and baronial raids; mine workers in the industrial revolution; victims of the African slave trade; inhabitants of Nazi concentration camps. So when, a few pages further on, he poses the question, “And these days?” as if to imply that we are free of all that, you wonder for a moment if he ever watches the news.
“However, the best thing about that job was that our offices were next door to Unnamed Soap Opera’s writing room, and they believed in keeping the door open. I spent several weeks writing trivia questions and unabashedly eavesdropping as the writers suggested that she be amnesiac AND temporarily blind, so she could fall in love with the identical (evil) twin of the local noble/business owner; the subplot involved framing someone for murder and a lot of mentions of “learning by touch” (awwww yeaaaaaaah), and at some point a noble yet naïve young person was going to try to save said gentleman by entering into a shady business deal with someone who had faked their own death and gone underground.”—
This is NOT me reminiscing, by the way - but us Gs should stick together. (And I watched most of Russian Dolls on SBS last night.)
Jacqui heard Kazuo Ishiguro say of serious novels and e-publishing that:
He wondered if a system of patronage might have to make a come-back; he commented that he had been offered £10,000 by a diamond manufacturer to write a short story that included product placement! Needless to say, he turned it down.
The young man recognised me from a few television commercials I’d done in recent years.
(Obviously I’d left little impression on him personally.)
One for ‘Chunks O’ Chicken’ where I was dressed as a burnt chicken wing and recited a few lines from Charles Chicken’s ‘Great Tray-Roasted-Chicken-With-Potatoes-And-Garlic-Gravy-Spectations’:
“My father’s family name being Parmesan Crumbed Chicken, and my Christian name Healthy Chicken and Vegetable Sausage Rolls, my infant tongue could make of both names nothing longer or more explicit than Chunks O’ Chicken. So, I called myself Chunks O’ Chicken, and came to be called Chunk O’ Chicken as I was a singular unit.”
Ooooh! Lovely. This is one of my favourite films. ‘I really a lot appreciate’ them posting this at longreads:
We filmed it almost entirely in sequence. We even broke up the newsroom scenes just so we could shoot the picture in sequence. And that means we kept informing ourselves. That means we woke up and these things happened with people in the sequence they’re supposed to happen. So that’s “process,” as you say. But keep in mind—we wouldn’t be sitting here talking about this movie if Holly [Hunter] hadn’t walked in. I also waited six months for William Hurt to become available. He almost didn’t do the picture. And I don’t think we’d be talking about “Broadcast News” if I hadn’t waited those six months for him.
…about the trip he made to Eastern Congo for Granta…Dinaw reads from his essay, ‘They Always Come in the Night’, before reflecting on the complexity of the conflict in Eastern Congo and the role of a foreign reporter in such an environment.
His essay is in the latest issue of Granta, Aliens.
Did I know Google Reader doesn’t work well on a mobile device? I DID NOT KNOW THAT. Richard McManus at ReadWriteWeb reports on mobile RSS readers. Another RWW maven also provides ten top tech Twitter links one might just have missed.
Chris Boyd, The Australian’s theatre critic, provides a beautifully written review of Bill Henson’s show at Tolarno on his blog, The Morning After.
Thanks to a specialist library e-list, here is an online atlas of global development from Harper Collins and the World Bank. The e-Atlas appears alongside the third edition of a print atlas, and is seen by the World Bank as ‘an important contribution to the World Bank’s Open Data Initiative’:
Developed in collaboration with HarperCollins, the e-Atlas of Global Development allows users to easily and quickly map and chart economic and social indicators and compare country outcomes. Users can export customized, professional quality, full color maps and graphs. Other features include scalable maps, timeline graphing, ranking tables, and import and export functions for sharing data and graphics. Critical issues such as poverty, food production, population growth, climate change, international trade, and foreign direct investment are covered…
“Not only are we making our data available for free and without restriction, but we are creating an innovative way for people to instantly see changes in the world over time.” Shaida Badiee, Director of the World Bank’s Data Group.
Something to add to your free online info sources…