Critical Linking: November 9, 2012


In 1964, the Fab Four added another art under their belt — live theater — when they performed Shakespeare’s “A Midsummer Night’s Dream,” in color, to the sound of shouting hecklers (scripted, part of the play) and someone yelling “Go back to Liverpool!” (unscripted, decidedly unshakespearean). Enjoy.

In the apotheosis of The Beatles, it’s forgotten just how straight up zany these guys could be.


I went to Dymock’s bookstore and took a zillion pictures of all the books in the romance section – which is separate from the paranormal romance section, interestingly enough – and of the sizes and prices of the books.

I’m not a romance reader, but this obsessively detailed looked at how books are just a little different in Australia was really interesting.


Why is it that in YA literature — a genre generated entirely to describe the transition to adulthood — there is so much fear and ambivalence surrounding manhood?

Right, as opposed to adult literature, in which manhood is knowable and not at all problematic.


When this approach works, the publisher constructs a space in which there can be a symbiotic relationship between author, publisher and reader. The publisher’s brand attracts authors, who support and promote themselves, one another and the brand (for example, we recently had 19 authors attend an SF convention, using their own Twitter hashtag to promote one another and Angry Robot). This attracts readers, who make repeat purchases, and these readers in turn attract more authors.

Nothing gets me more excited to read a book than knowing that the author and publisher want me to be a symbiote with them. Not at all creepy.

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