We previously reported that Atwood would be one of the authors adding a book to the Library in Oslo, Norway, and this week, the manuscript took its place in a locked box to be revealed in 2114. Atwood will also be writing about the experience on Wattpad.
Whle I personally doubt I’ll ever get to read Scribbler Moon, I do think this is an incredible project. The documentation of how books and writing styles develop over the next 100 years won’t just be an important piece of history, but an enduring testament to humanity’s appreciation for literature.
Having written well-loved series like The Claidi Journals and award-winning novels like Death’s Master, Tanith Lee was laid to rest this week. Her legacy spans 44 years of publication, starting with The Dragon Hoard published by Macmillan in 1971.
I have not yet had the privilege of reading a Lee book, but the outpouring of love and appreciation for her and her work have convinced me to check out my local library’s stock. Our sincerest condolences to her loved ones and fans.
You may have seen Margaret Stohl and Kami Garcia spreading the word about this hashtag on your Twitter feed as they promote their newest novel Dangerous Deceptions. Stohl and Garcia asked their readers to tweet selfies with books, using the hashtag. For every 5,000 selfies, their publisher Little, Brown Books for Young Readers, will donate one book to a school or library in need.
“We wanted to celebrate the Dangerous Deception release by letting everyone experience the thrill of sharing a book with a reader who wouldn’t otherwise have one. It’s my favorite kind of campaign — stone soup, where we all kick something in!” wrote Stohl.
Feeling a little deja vu over this news? You’re not the only one. The possibility of Penguin Random House going head-to-head with Amazon is a familiar story, one that fellow publishers Hachette, Macmillan, Simon & Schuster and HarperCollins have already lived through. As the biggest publisher today, PRH’s approach to these talks will certainly be interesting to watch.
Has the presence of female characters in award-winning novels increased or decreased in the last 15 years? That’s just one of the questions author Nicola Griffith decided to explore in her latest piece. Among the awards Griffith analyzed: the Pulitzer, the Man Booker, and the Hugo Awards. It’s hard not to feel unsurprised by the results:
At the top of the prestige ladder, for the Pulitzer Prize women wrote zero out of 15 prize-winning books wholly from the point of view 2 of a woman or girl. Zero. For the prize that recognises “the most distinguished fiction by an American author,” not a single book-length work from a woman’s perspective or about a woman was considered worthy. Women aren’t interesting, this result says. Women don’t count.
As always, the hope remains that community analyses like this will keep the conversation about book diversity going.