Sunday, July 31, 2016

J.K. Rowling celebrates birthday with King's Cross cake

J.K. Rowling celebrates birthday with King's Cross cake

It’s no coincidence that J.K. Rowling and Harry Potter share a birthday. The writer, who recently celebrated the opening gala performance of the Cursed Child stage production in London, commemorated 51 years of living with a special King’s Cross cake. 

“I got a cake in the shape of King’s Cross at midnight,” Rowling tweeted, referring to the famed London railway station that doubles as the destination for Platform 9 3/4 in the Harry Potter series. “Thank you so much for all the birthday wishes! I’m very fond of you lot, too.” 

I got a cake in the shape of King’s Cross at midnight pic.twitter.com/46KR0T5vN1

— J.K. Rowling (@jk_rowling) July 31, 2016

Thank you so much for all the birthday wishes! I’m very fond of you lot, too

— J.K. Rowling (@jk_rowling) July 31, 2016

Elsewhere, Rowling posed with Cursed Child’s resident Hermione, Noma Dumezweni, for a photo. “Noma gives the best birthday hugs,” she wrote on Twitter. As for a not-so-pleasant surprise, the writer posted a photo of her son’s gift: a coffee mug with an owl saying, “F— off.” 

“I think we can all agree that this is an unacceptable gift from a son to his mother on her birthday,” she tweeted. 

Noma gives the best birthday hugs @MissDumezweni pic.twitter.com/dnwJeuTOOI

— J.K. Rowling (@jk_rowling) July 31, 2016

I think we can all agree that this is an unacceptable gift from a son to his mother on her birthday. pic.twitter.com/yYUdiIDnKI

— J.K. Rowling (@jk_rowling) July 31, 2016

Rowling attended the opening gala for Harry Potter and the Cursed Child at the Palace Theatre on Saturday.

She said on the red carpet, “I am so proud of this play. I always try to avoid the world ‘magical’ for obvious reasons, but it has been magical. I’ve loved every moment of it. It’s been a wonderful process.”

Harry Potter and the Cursed Child: EW book review

Harry Potter and the Cursed Child: EW book review

The Potter series has always stretched the imagination, but a narrative mind is charmed to work overtime in Harry Potter and the Cursed Child, the new stage play from J.K. Rowling, Jack Thorne, and John Tiffany, billed as the eighth Potter story, 19 years later. Released in book form for both posterity and audiences who lack proximity to the current sold-out West End production, Scholastic’s publication of the Cursed Child rehearsal script manages to throw a wild new wrench into the Potter series, unlocking a rarely tapped portal of the reader’s imagination in a way no Potter book has before.

Much of that belongs to the medium of the story: A play which whizzes through locations and tableaus over four disorienting acts. It’s a beast to behold, but Thorne (from a story he conceived with Rowling and Tiffany) writes without limits. The playwright never dares to let the bounds of a proscenium performance limit the magic (or the set pieces) conjured up in the just-enough stage descriptions he includes, and the result is a script that demands to be seen. For perhaps the first time ever, the ceaseless whims of Rowling’s wizarding world now come accompanied with an indescribable “How?” that cascades over the entire narrative. It’s theatre, plain and simple, and this interrogative purview of Harry’s existence is not a distraction but a gleeful new challenge tasked to readers. (Cynically, it’s also the ultimate marketing tool in getting thee to a box office.)

Heads inflate, bookcases eat, duels detonate in grand fashion, and centaurs and Dementors abound — all the markings of non-restraint on Thorne, Rowling, and Tiffany’s part, and thankfully so. Cursed Child teems with the clever, cerebral thrills we’ve come to demand in a Potter tale, especially one following in the line of succession behind the ur-mature Deathly Hallows. And all this, regardless of the story’s meta medium. Stage directions have been chosen with laser focus, and although the onus to perform is heavy on the reader, the force to think in form does in fact wash away fairly quickly.

On a purely narrative level, this new story introduces captivating arcs and bold new theories that immediately place this sequel squarely in Rowling’s world of simmering, slow-burn machinations. Even before the introduction of a byzantine layer of time travel (which admittedly dominates more of this story than is ideal), it’s clear the stakes here have not done much shrinking 19 years after our last encounter with the Potters. If Deathly Hallows offered the series’ most exciting and discombobulating array of back-to-back action, Cursed Child does the same feat with twists and deductions. Some stick, and others exist perhaps more for shock, but once the (occasionally maddening) time-turning plotline sets in, the story kicks itself free of any assumed direction. By act three, all hell has broken loose, and it’s manic Potter madness. Voldemort may be gone, but all isn’t well — in the most delightful way in which that declaration can be true.

Thrills aside, the emotional core here is a deeply human one, which Rowling should consider a huge achievement decades in the making. As Harry struggles to find his footing as a parent, his youngest son Albus struggles even more to extract his own identity from the shadow of his father. One early, pivotal argument between the two is cutting on its own… and decades of familiarity with our wizened hero only twist the knife deeper.

Such is the case with the other core players. Hermione, now the Minister for Magic, is professionally uneasy but masterfully at home in her new role. Ron, her husband, is more carefree than ever in his freedom from Death Eaters, academia, and children in the house. To Thorne’s credit, seeing these characters function in the adult world miraculously avoids cynicism and what could have been a jarring leap of faith; they’re grounded here in the gems of familiar personality they get to display (like Hermione checking Harry’s paperwork at the Ministry of Magic). It’s only Draco whose evolution appears the least impactful and believable, owed to an off-stage tragedy that is a key yet unseen impetus for his behavior.

The introduction of primary protagonists Albus and Scorpius is, largely, perfect. Both characters immediately spring from the page and stake their claim as the Wizarding World’s greatest new (yes, new) creations. Albus is rebellious, inquisitive, and foolhardy, but lovable despite his Order of the Phoenix levels of angst; Scorpius Malfoy is dryly funny and winningly sanguine, despite having every reason not to be. Rose, the daughter of Hermione and Ron, is underused but finely crafted, and a handful of other new characters are smartly conceived.

Cursed Child bears its flaws openly, but the lightest offenses are easily excused; forgive it its exposition, and its frequent returns to such language when the plot demands explanation as shock (which is often). Thorne offers some fine tributes to Rowling’s biting humor, but also strays on occasion; most noticeably, he errs in his homages to fallen characters. The onus of performance falls on the reader, but some exchanges still read as sterile and unnatural. Of no fault to the playwright, that straight-play trope of awarding a meaty monologue to every character doesn’t quite lend itself to every arc; a handful of act-four scenes are detrimentally heavy-handed.

As is the nature of the modern age of revivals, Cursed Child reads — maybe even exists — as a field guide to cameos and surprises. Each one bears delights and induces smiles, but the play’s story device and its ability to summon up familiar faces is likely the reason Rowling and company felt the piece could and should in fact work now, here, in 2016. On that note, Cursed Child is also the series’ least standalone entry. It’s almost akin to Rowling’s complement works (Quidditch Through the Ages, Fantastic Beasts and Where to Find Them, etc.), serving more as an experiment in hypothetical character development than in definitive measure. The punch of its revelations about the happenings at Hogwarts would no doubt have hit harder had Rowling not continued the story to such lengths on Pottermore or through her social media unveilings of character details.

Admittedly, it’s even tempting to write off the work as Rowling-approved fan-fiction, rather than her own defining mythos. Certainly with time, fans will readily accept the story as canon, but some of the Cursed Child finality feels presently dubious — not insomuch as where characters have ended up, but in why their fates have almost been perfunctorily defined. It’s almost the Potter series’ response to the nostalgia-mania that’s defined this generation of regeneration — a condition Potter surprisingly subscribed to just nine years after its purported end. On one hand, the reprise helps uncover important new layers that only serve the greater story; on the other, certain moments in the series have been untied and hastily re-packaged here.

One wonders what Rowling would have done had Cursed Child manifested itself in her home medium, with her inimitable mode of description guiding readers rather than leaving them to fill in the acting blanks in their envision of how this piece operates in the performing arts (which, to be sure, is an adventure that Rowling, Thorne, Tiffany, and rights-holders Warner Bros. should be commended for embarking upon). But then, we have essentially already read these scenes in Rowling’s prose, and Cursed Child is all about ingenious experiments in the unseen. Here, the reader dares to enact a stretch of logic, imagination, and ethos, borne from Harry’s arrival in both the real world and the “real world.” This is Harry Potter like you’ve never experienced it before. Welcome to the theatre, where participants are asked to fall deeply into hypnosis by narrative while also being wholly aware that they’re watching from the outside. It’s a dastardly strange, magical beast, but it’s one Rowling’s readers have been known — trained, even — to conquer. A

Mark Millar asks readers to follow his new superhero with #OneGoodDeed

Readers of Huck, the Kick-Ass author’s latest kindly protagonist, asked to share details of selfless acts for the chance to win original artwork

Comic writer Mark Millar is asking fans to carry out good deeds and share them on social media, in the spirit of his latest comic Huck, about a good-natured superhero whose mission is to do one nice thing a day.

Millar asked readers to post pictures or details of their selfless acts on social media using the hashtag #OneGoodDeed. The Glasgow-based writer of comics such as Kick-Ass, Kingsman and Jupiter’s Legacy has put up a page of original art by the series artist Rafael Albuquerque as a prize for the random act of kindness judged to be the best by the end of July.

Huck, which is released in collected edition on 20 July, tells the story of his hero’s good deeds, which range from helping old ladies cross the road to saving kidnapped schoolgirls from terrorists. Millar, who has created famously violent comics like Kick-Ass, dreamed up Huck after watching the Superman film Man of Steel and feeling superheroes had become too violent.

“I’d updated all the Avengers characters into more hard-edged, realistic archetypes, I’d created Hit-Girl, I’d written all these big, bad-ass set pieces, but when I saw Superman’s solution to the problem at the end of that movie being to snap poor Michael Shannon’s neck, I was honestly rattled,” Millar said.

“I realised this dark edge that had been added to all these great childhood characters had become pitch-black and we had to change course or lose everything that made them work. As things grew darker, I just went lighter and people went crazy for it.”

The first issue of Huck came out in November 2015; Millar called it “the best reviewed book I’ve ever done”.

“A lot of people I suspect were feeling the same way and just after something that gave a little hope. People really responded to this,” he said. Recent world news has made the idea feel more urgent.

“The last couple of weeks have been especially overwhelming, with horrific headlines piling on top of each other until we’re almost numb to it,” said Millar. “We’d planned to do the #OneGoodDeed thing already, but I honestly think we’ve never needed it more. Just a little light for a change. A small, random act of kindness.

“When I was writing Huck last year I actually tried to apply it to my own life and it’s harder than you think, but purposely doing one overtly nice thing every day and making it your mantra, I’m convinced, not only helps other people, but it makes you feel better. I think the reason we like superheroes isn’t that they’re bad-ass. It’s because they’re kind. This is as close as we get to being superheroes and it’s actually really fun.

“So even if it’s making everyone in your department a cup of tea or giving someone your KitKat or giving up your seat on the train or just sending someone a text who might need a little lift – that’s what we’re trying to do this week. If it becomes a habit, even better … The antidote to the news.”

Like most of Millar’s other creations, Huck is headed for the big screen – Studio 8 at Sony bought the movie rights before the first issue was released.

“I told them I was doing a Frank Capra superhero story when I had lunch with them last year and they bought the rights on the spot,” Millar said. “I said: ‘Imagine superheroes had never been invented and you were making one with Jimmy Stewart.’ We literally shook hands and did the deal before dessert arrived and have been interviewing directors. We feel the time is right for this, so we don’t want to waste time.”

Although there’s a prize on offer, Millar doesn’t want that to be the main motivation. He said: “Though this will be especially cool for comic fans, I actually think it’s more about doing the deed than getting the reward. Doing it for nothing is what matters here. If I’m honest, the perfect winner here would donate the prize to someone else if he or she wins, which would be brilliantly in keeping with the tradition of the Huck story itself. I’m bored with hedonism. We need this right now.”

The entire first issue of Huck is available exclusively on the Guardian below.

Harry Potter and the Cursed Child could soon go worldwide, says JK Rowling

As play opens in London, author says it could find a home on Broadway and beyond to reach as many Potter fans as possible

As Harry Potter and the Cursed Child opens in the West End of London, author JK Rowling has said the production could soon go global.

Part one of the play premiered at the Palace theatre on Saturday afternoon, with part two due to follow on Saturday evening. The play script will also be released at midnight, so fans unable to make it to the theatre will get a chance to find out what happens next to Harry Potter and his friends.

Speaking on the red carpet, where she wore winged high heels as a nod to the wizarding world, Rowling said the play could be destined for Broadway and beyond. Asked about Broadway plans, she told reporters: “I’d love it to go wider than that. I’d like as many Potter fans to see it as possible.”

Theatre producer Sonia Friedman said “many countries” could get a chance to see the play in future years. She said: “Hopefully more than America, hopefully many countries at some point will get to see it. But it’s a big piece of theatre, it’s a big endeavour, you can’t just turn it around overnight.

“But if everything goes to plan over the years, we will get there.”

As the play opened following nearly eight weeks of previews, it drew whoops, applause and gasps of shock from the audience as magic appeared to unfold onstage. The play also features plenty of twists and surprises, although fans have been asked to keep plot details secret – with KeepTheSecrets badges handed to audience members on their way out.

Rowling said she had been impressed that fans had kept details under wraps: “It is the most extraordinary fandom so I’m kind of not surprised they didn’t want to spoil it for each other but I’m so happy we got here without ruining it.”

The Harry Potter author highlighted the importance of the Friday 40, a chance for people without tickets to win seats at low prices. She said: “What we would really like most of all is to bring people in who have never been to the theatre before.

“I would be so proud to think that kids from my kind of background, who didn’t come from particularly theatre-going families, learn what theatre is about through this show. That would be an incredible thing.”

Attending the gala with his family, the mayor of London, Sadiq Khan, said: “Many thanks to JK Rowling for ensuring the premiere is here.” He added that he was a big fan of Harry Potter, saying: “What’s important is that the world premiere is here in London, and we should be really proud.”

Director John Tiffany also thanked fans for keeping the secrets so far, comparing sharing plot details with opening children’s Christmas presents in November: “Why would you do that?”

Set 19 years after the events of the seventh and final book, The Cursed Child brings back Harry Potter, now an employee at the Ministry of Magic.

Harry and his wife, Ginny Weasley, wave off their youngest son, Albus Severus, to their old wizarding school, Hogwarts – but once there, Albus struggles with the weight of his family legacy and goes to extreme and dangerous lengths to right the wrongs of the past.

Reviews have been glowing, with the Guardian’s Michael Billington describing it as “a duel of dark and light carried off with dazzling assurance”. The two-part play stretches over five hours and was co-devised by Rowling, written by Jack Thorne and directed by Tiffany.

Friday, July 29, 2016

Underground Airlines by Ben H. Winters: EW review

Underground Airlines by Ben H. Winters: EW review

Alternate histories can be a treacherous siren call within genre fiction. While a tantalizing “What if?” is enough to get readers in the door, without a crackling story, hypothetical worlds devolve into strings of bizarro, clever-clever factoids. And yet Winters’ nightmarish mystery, set in a modern-day U.S. where the Civil War never happened, somehow manages to tap-dance around every potential pothole. In the foreground is Victor, a black off-the-books slave hunter, and his search for a missing PBL (Person Bound to Labor). Winters crafts his thriller so deftly that the ingenious details of his sideways timeline often fly under the radar, blurring the line between Victor’s world and ours. A–

Truly Madly Guilty by Liane Moriarty: EW review

Truly Madly Guilty by Liane Moriarty: EW review

Just as Punxsutawney Phil raising his furry little head on Groundhog Day announces the end of winter (or not), a new Liane Moriarty has come to signal summer in the book world. Though the blockbuster Australian novelist skipped last season, her 2014 phenomenon Big Little Lies and earlier entries like The Husband’s Secret and The Hypnotist’s Love Story have become such beloved beach-tote habitués that their jacket images of shattered flowers or shells or candy suckers are nearly synonymous now with smart, breezy, don’t-bother-Mommy-while-she’s-in-the-hammock reads. Truly Madly Guilty breaks Moriarty’s blow-up cover mold (and unlike the others, its swooping slash of water actually means something to the plot), but the narrative is still stacked with her signature themes: female friendship, duplicity, the darkness lurking beneath lucky, ordinary suburban lives.

She also loves to tease out a mystery, and it takes Truly nearly 300 pages to arrive at its relentlessly foreshadowed central event: an unnamed catastrophe at a barbecue that has sent its cast of characters spinning out of their emotional orbits. There are still many more pages to go before we find out who’s responsible. Is it golden couple Clementine and Sam or one of their two young daughters? Clementine’s tightly wound best friend, Erika, and her equally self-contained husband, Oliver? Their glamorous neighbors Vid and Tiffany, with all their new money and artless generosity? The book devotes so much energy to aftermath before reaching its big reveal that it begins to feel like a very special, very frustrating episode of CSI: BBQ. The last twist, though, is nearly worth the wait, and what sets Moriarty’s writing apart in the genre generally dismissed as chick lit has as much to do with her canny insights into human nature as her clever plotting. Finding out exactly why Erika controls every element of her life so carefully, or why her fraught relationship with Clementine has been off balance from the start, is ultimately more compelling than the events of a single disastrous afternoon. And for Moriarty’s many fans, that should be truly, madly good enough. B

OPENING LINES “ ‘This is a story that begins with a barbecue,’ said Clementine. The microphone amplified and smoothed her voice, making it more authoritative.…”

Elon Musk endorsement spikes sales for out-of-print 1929 history book

Just try to find a copy of 'Twelve Against the Odds'

Elon Musk has obscure taste in books. In an interview with Bloomberg Thursday, Musk mentioned that he was enjoying his current read, Twelve Against the Gods by William Bolitho, a 1929 history book that is now out of print. Musk told Bloomberg, “It’s really quite good.” Now, people are flocking to buy used copies of the book, causing it to sell out.

Twelve Against the Gods is made up of sketches of 12 figures from history who fought against convention, including Casanova, Napoleon, Woodrow Wilson, and Alexander the Great. According to The Guardian, the price of a used copy of the book on Amazon went from $6.35 to $99.99. It’s now sold out on Amazon. From there, customers turned to Abebooks, which also quickly sold out of the obscure book. 

No word yet if there are any plans to reprint the book. For now, readers will have to continue this treasure hunt to score a copy, unless Elon Musk wants to lend out his copy when he’s finished.

Elon Musk endorsement sparks rush to find out-of-print history book

Twelve Against the Gods by William Bolitho becomes Abebooks’s busiest search term after Tesla chief declares it ‘really quite good’

A forgotten, out-of-print history book from 1929 has sold out across the internet after it was praised by Elon Musk.

The Tesla chief executive and billionaire told Bloomberg on Thursday that he was currently reading a book called Twelve Against the Gods by William Bolitho. “It’s really quite good,” Musk added, sending the price of the now obscure text up from $6.35 (£4.82) on Amazon.com for a secondhand paperback edition, to $99.99, before it sold out at the online retailer. Shortly after, used books marketplace Abebooks reported that it had also sold out, with the 13 copies available quickly snapped up and Bolitho’s book the most sought for on the site all day.

Twelve Against the Gods, by former Manchester Guardian correspondent Bolitho, is a series of sketches of the lives of 12 figures from history, including Casanova, Napoleon, Woodrow Wilson and Alexander the Great. It is, runs its description, “intended to elucidate history somewhat, more to illustrate it, to honour without hypocrisy the deeds of men and women whose destiny was larger, if not deeper than our own”.

“We had only 13 copies available at the start of Wednesday and all of them have sold, including a copy for $99. Twelve Against the Gods was easily the top search term on AbeBooks.com yesterday [Thursday]. I am positive we would have sold many more copies if they had been available,” said spokesperson Richard Davies. “When we have less than 15 copies of a particular book then it’s safe to say that it’s pretty obscure. We had not sold a single copy this year until Musk revealed he was reading it.”

Bolitho was born in 1890 and died aged 39, in 1930. He fought during the first world war, where he survived being blown up by a mine and buried alive. After the war, he became the Guardian’s Paris correspondent, where he encountered Ernest Hemingway, at that time a fellow journalist. Hemingway later wrote that he “had a white, lantern-jawed face of the sort that is supposed to haunt you if seen suddenly in a London fog, but on a bright windy day in Paris meeting him on the boulevard wearing a long fur-collared great coat he had the never-far-from-tragic look of a ham Shakespearean actor”.

“None of us thought of him as a genius then and I do not think he thought of himself as one either, being too busy, too intelligent, and, then, too sardonic to go in for being a genius in a city where they were a nickel a dozen and it was much more distinguished to be hard-working,” added Hemingway.

Noël Coward, with whom Bolitho was also friends, wrote of him that “of all the minds I had ever encountered, his, I think, was the richest and most loving”. Coward dedicated his play Post Mortem to Bolitho, who would die two years later of peritonitis.

'Crazy but fantastic': Man Booker prize pitches tiny publishers into big league

A year after Marlon James and his indie press Oneworld beat publishing giants to win the Man Booker, three independent publishers have made the 2016 longlist. But what effect does the ‘mother of all prizes’ have on tiny teams?

Alongside heavy hitters such as JM Coetzee and Elizabeth Strout, published by imprints of the international giant Penguin Random House, this year’s Man Booker prize longlist also featured a new face: Graeme Macrae Burnet, whose second novel comes to readers courtesy of tiny independent Scottish press, Saraband.

In the midst of rushing through a reprint after Wednesday’s announcement, publisher Sara Hunt’s phone is ringing off the hook with sales, rights and publicity inquiries. Macrae Burnet’s novel, His Bloody Scotland, “went out of stock straight away,” she says, and she and her one full-time colleague are working round the clock to make sure it will be available to readers next week.

“It’s been crazy but fantastic … it’s hard to take in when most of the time we’re fighting to tell people about how good our books are, then suddenly everyone who hasn’t been in touch is wanting to speak to you at the same time – it’s that tricky day at work that you dream of having,” she says.

“We’ve entered this novel for absolutely everything – our experience is that we send out hundreds of copies, and review copies, and batter down the doors of people on the literary desks … It’s absolutely fantastic that it’s been chosen by the big mother of all prizes – the one where the judges read all the books, and where it’s been picked over a lot of big names.”

His Bloody Scotland, the story of a triple murder in an 1869 crofting community, is one of three novels from tiny independent presses on this year’s 13-strong Booker longlist, chosen by judges from 155 submissions. All three novels dropped out of stock following Wednesday’s announcement: as well as Saraband, both Salt and Oneworld are trying to meet a sudden, unexpected rush of demand from readers and booksellers.

Salt, which has six full-time members of staff, made the Booker shortlist four years ago with Alison Moore’s The Lighthouse. This time, the Cromer-based publisher was longlisted with Wyl Menmuir’s The Many, in which a man buys an abandoned house in an isolated coastal community.

“It’s been completely non-stop. The phone’s been ringing off the hook with hundreds of enquiries,” says director Chris Hamilton-Emery, who has put through a first reprint of 5,000 copies of The Many, set to arrive in bookshops next week.

Salt initially printed just 1,000 copies, and Hamilton-Emery says it has sold just under half of that since publication in June. With “a huge number of review copies” sent out to newspapers, just “a few hundred” were left when the longlist announcement was made on Wednesday morning.

“Within about 15 minutes, they were gone,” he says. “Now we’ve got about a month to sell through what we can, and the big transition is the shortlist, which I can’t even contemplate at the moment. We’ll be ready for it, and it would be fantastically exciting, but the prize is open this year – it’s such a refreshing list.”

At Oneworld, which publishes The Sellout, by Paul Beatty, the team was a little more prepared. For one thing, staff at the independent press now number 21. For another, Oneworld is also the publisher of last year’s Booker winner, Marlon James’s A Brief History of Seven Killings, which has sold more than 350,000 copies since he pocketed the prize.

Still, things are fairly hectic: publisher Juliet Mabey is on holiday in Italy, and Oneworld is in the middle of a 15,000-copy reprint of Beatty’s contender. “We came back from breakfast to a flurry of missed calls [about the announcement],” she says. “By lunchtime we had got a new jacket from the book designers, and had an order sent to the printers … We are a small publisher, but we have a really strong team.”

Mabey says that James’s win last year has “given a lot of profile to the author, of course – he’s on an international speaking schedule now – but it’s definitely given a lot of profile to the company as well. It means we can buy bigger books, and get more attention.”

“When you’re a small publisher up against the big five or six, it’s hard to get the attention of reviewers, and of bookseller promotions. But this makes it a more level playing field,” she says. “It’s especially great for indies. They already publish with heart, and it’s great to get commercial rewards as well.”

But it’s not always easy. At Salt, which was once one of the UK’s most innovative poetry publishers, Hamilton-Emery and his team took the decision a few years back to refocus on publishing just 12 books of fiction and short stories a year and to drop the poetry, following a slump in the market. “It was a terrific shame,” says Hamilton-Emery. But with Moore’s shortlisting and now Menmuir’s longlisting, and a recent bestseller in Best British Stories, Hamilton-Emery points to a “silver age of the indies”, adding: “Salt has been part of that – of course, the Man Booker list rather supports this view of a resurgence of independent presses.”

Bridget Shine, chief executive of the Independent Publishers Guild, agrees that the sector has been buoyant in the last few years, adding that membership of the IPG is currently at an all-time high of more than 600 companies.

“Independent publishers face plenty of challenges, not least the Brexit fallout, and our recent survey of members showed us that challenges lie in store on printing costs, academic funding and consumer confidence. But independents aren’t alone in all this, and they prove time and time again that they can respond to change with agility and creativity,” says Shine.

“Getting books on to the Man Booker prize longlist can have lots of great benefits for smaller independent publishers. As well as lifting sales, it shines a spotlight on lesser-known authors and the publisher itself, raising its profile among readers, booksellers, authors and agents alike … It’s a triumph for good books, published with passion.”

Thursday, July 28, 2016

Joe Biden loves the word 'malarkey'

Joe Biden loves the word 'malarkey'

Donald Trump has added a number of signature phrases to his repertoire over the course of the ongoing presidential election, but it seems he’s not the only politician harboring a quotable catchphrase: Apparently, Joe Biden loves to use the word “malarkey.”

On Wednesday night, the vice president made headlines for throwing out the term during his scathing DNC speech, driving Americans to look up the remark online. As “malarkey” rose to the top of Merriam-Webster’s search terms, the company noticed a trend: It wasn’t the first time Biden had touted the word during a formal address.

In fact, Biden has said “malarkey” dozens of times since stepping into the public eye, dating back to at least 1983. “Don’t buy all this malarkey that we’re in so much trouble,” he told a Philadelphia crowd during his own presidential run in 1988. Amid his 2012 vice-presidential debate with Paul Ryan, he slapped the congressman with a, “With all due respect, that’s a bunch of malarkey.”

For the record, “malarkey” means “insincere or foolish talk” or “nonsense.” Its roots trace back as far as the early 1920s, though its use has since decreased in popularity despite Biden’s best efforts. Still, Merriam-Webster reports that his DNC speech drew in more attention than any of his previous comments, so a comeback isn’t too far out of the question.

Watch a clip from the speech below.

Joe Biden: Trump is “trying to tell us he cares about the middle class? Give me a break. That’s a bunch of malarkey” https://t.co/iI4DL0uP0U

— CNN (@CNN) July 28, 2016

Anna Faris to release memoir, Unqualified

Husband Chris Pratt will write the foreword

Anna Faris is spinning her comedic podcast into print for her upcoming memoir, Unqualified, it was announced Thursday.

Lifted from the candid advice she doles out over the airwaves on Anna Faris is Unqualified, the book will share Faris’ take on “how to navigate the bizarre, chaotic and worthwhile adventure of finding love,” according to a release. She’ll trace her rise from awkward teen to Hollywood starlet, recounting both relationship misfires and her marriage to Chris Pratt, who will also write the foreword.

Unqualified is in development with Dutton, who previously published Drew Barrymore’s Wildflower, Rainn Wilson’s The Bassoon King, and Nick Offerman’s Gumption and Paddle Your Own Canoe.

“After years of telling people I don’t know what I’m talking about concerning a whole host of topics, it is deeply gratifying to learn that Dutton whole-heartedly agrees,” Faris said in the release. “I could not be more excited to get my stories – on love, relationships and courtship – to the people who not only buy books, but then actually read those books. Namaste.”

Pre-fame Bruce Springsteen tracks to feature on 'audio companion' to his autobiography

The compilation Chapter and Verse will include five songs never before released, dating back to 1966

Bruce Springsteen has announced a compilation album to serve as an audio companion to his forthcoming autobiography, Born to Run. Chapter and Verse will be released on 23 September on Columbia, four days before Simon & Schuster publishes the book.

Springsteen selected the songs to fit the themes and sections of the book, and the album will be of interest to fans because it features five previously unreleased songs, including material from his pre-fame groups, the Castiles, Steel Mill and the Bruce Springsteen Band.

The Castiles, Springsteen’s teenage band, offer two tracks – Baby I, written by Springsteen and bandmate George Theiss, which was recorded in May 1966, and a version of Wille Dixon’s You Can’t Judge a Book by the Cover, recorded in September 1967. Steel Mill are represented by He’s Guilty (The Judge Song), from February 1970. The Bruce Springsteen Band contribute The Ballad of Jesse James, recorded in March 1972. The fifth unreleased track is Henry Boy, a Springsteen solo track.

All the other tracks have previously been released. An early version of Growin’ Up appeared on Tracks, while the other 12 songs are all from his studio albums.

Venice 2016: Terrence Malick and Tom Ford set for red carpet in bumper year

Premieres of new films from Ford, Malick and Mel Gibson join highly-anticipated Michael Fassbender/Alicia Vikander romance, Natalie Portman as Jackie Kennedy and Timothy Spall as Ian Paisley

American cinema has secured a pre-eminent position in the line-up of the 2016 Venice film festival, with new films from Terrence Malick, Tom Ford, Damien Chazelle and Derek Cianfrance among the highlights of the competition that was announced on Thursday.

Arguably the most eye-catching film in the festival, Chazelle’s Hollywood musical La La Land starring Ryan Gosling and Emma Stone had already been announced as Venice’s opening film, and it will be joined on the Lido by five other major US productions.

The Light Between Oceans, directed by Cianfrance and adapted from ML Stedman’s novel about a lighthouse keeper who discovers a baby adrift in a lifeboat, features Michael Fassbender and Alicia Vikander in the lead roles.

Ford’s Nocturnal Animals is the fashion-world magnate’s follow-up to 2008’s A Single Man, and is another literary adaptation – of Tony and Susan by Austin Wright – and stars Amy Adams as a woman sent a manuscript of a novel by her ex-husband.

Also selected for competition is Arrival, Canadian director Denis Villeneuve’s first film since scoring a commercial and critical smash with Sicario. Arrival is a science fiction drama centring on a language expert played by Adams, who is part of the team assigned to investigate mysterious alien spacecraft that have landed on Earth.

Venice has also picked The Bad Batch, the second film by Iranian-American director Ana Lily Amirpour. Described as “a cannibal love story set in a post-apocalyptic Texan wasteland”, The Bad Batch follows her impressive debut A Girl Walks Home Alone at Night.

Natalie Portman’s Jackie Kennedy biopic has also been given a competition berth: directed by Chile’s Pablo Larraín, it follows Kennedy in the immediate aftermath of her husband’s assassination. Hacksaw Ridge, billed as Mel Gibson’s comeback film, will play in an out-of competition slot; starring Andrew Garfield, it chronicles the life of conscientious objector Desmond Doss, who won the Medal of Honour during the second world war as an army medic.

And the Magnificent Seven remake, directed by Antoine Fuqua, will play as the festival’s closing film after its premiere at Toronto, which slightly overlaps Venice.

The appearance of Malick’s documentary Voyage of Time in the line-up appears to mark the end of a tortuous saga for the film. Originally conceived by Malick in the 1970s as an exploration of the origins of life on Earth, the director worked sporadically on it over the ensuing decades, with elements of it showing up in the Palme d’Or winning The Tree of Life. However, a lawsuit was launched in 2013 by one of the film’s financiers, who alleged Malick had “forgotten” about the film, and used the funds on other projects.

The suit was eventually settled in 2014, and two versions are thought to have been completed: an Imax format with narration by Brad Pitt, and a more conventional 35mm with Cate Blanchett. Venice will be showing the Blanchett version.

The festival has also found room for a number of other major figures: Emir Kusturica will appear in the competition with On the Milky Road, in which the director stars opposite Monica Bellucci in a three-part study of a turbulent life; veteran Russian auteur Andrei Konchalovsky brings Ray (aka Paradise), an account of three disparate figures during the second world war, and The Beautiful Days of Aranjuez from German director Wim Wenders, an adaptation of Peter Handke’s philosophical play.

British cinema will make limited impact at Venice, with the Nick Hamm-directed The Journey – revolving around the friendship between previously-implacable enemies Ian Paisley and Martin McGuinness, showing in an out-of-competition slot, and Alice Lowe’s “pregnancy horror” film Prevenge picked as the opening film for the Venice Days sidebar.

The Venice film festival opens on 31 August and runs until 10 September.

Here Comes the Sun by Nicole Dennis-Benn: EW review

Here Comes the Sun by Nicole Dennis-Benn: EW review

The blazing sun is one sure thing in the Jamaica of Dennis-Benn’s harshly beautiful debut, but it bears down differently on the local shantytowns than it does on the privileged guests of Montego Bay’s airy, immaculate resorts. Hotel employee Margot, who straddles that disparity every day, is determined to pull herself and her teenage sister, Thandi, across the almost impossible divide, whether that means trading her body, her integrity, or even her own chance at real happiness. In saturated paragraphs and rich patois, Sun lays out the stark realities of an island whose entire economy relies on natural beauty, cheap labor, and limited resources—and explores what it means to live in a place where, as one character says, “nobody love a black girl. Not even harself.” A–

The Hopefuls by Jennifer Close: EW review

The Hopefuls by Jennifer Close: EW review

Charisma is a tricky thing. You either have it or you don’t—and Jimmy Dillon, the charming Texan at the center of Jennifer Close’s quietly captivating novel The Hopefuls, absolutely has it: that golden magnetism that makes you wonder what it would be like just to stand next to him, if only for a second.

Beth Kelly, our narrator, gets plenty of chances to bask in Jimmy’s light. She and her husband, Matt, who move from New York to D.C. (begrudgingly, on Beth’s part) for Matt’s political career, find fast friends in Jimmy and his Southern-belle wife, Ashleigh. Soon they too are carried upward on Jimmy’s golden waves of luck, and the four D.C. transplants become inseparable, protecting one another from the more obnoxious aspects of life in the capital, like monumental egos who brag about their security clearance at parties. Beth starts to think D.C. might not be so bad.

But even during the foursome’s honeymoon phase, there’s a low thrum of dread pulsing beneath the dinners and fund-raising galas. Troubling questions flicker through Beth’s mind: Is Jimmy cheating on Ash, as rumors allege? Will Matt—who’s always dreamed of running for office himself—ever catch up to Jimmy’s success? And do Beth and Matt, who married years ago, young and quickly, really know each other? When the Kellys follow the Dillons to Texas so Matt can head up Jimmy’s promising campaign for railroad commissioner, Jimmy’s finesse throws Matt’s shortcomings into sharper relief. “At the end of Jimmy’s campaign, there were a million things I was unsure of, and just one thing that was definite: Matt’s words sounded better when they came out of Jimmy’s mouth,” Beth says. “And it wasn’t fair, it was just the way it was.”

Close, whose husband worked on Obama’s campaign, uses her knowledge of this world—and her experience as an outsider—expertly. Beth’s conversational narration feels like peering into the diary of someone who shares your deepest insecurities: “I knew how awful I was being,” she says. “Maybe I just wanted things to stay the same for a little while longer. But mostly, I think, sometimes it’s just really hard to be happy for other people.” A–

MEMORABLE LINE “It was amazing how people turned their bodies toward him as he walked into a room, how his smile made them feel warm.”

Indie bookshops turn a new page to fight off threat from Amazon

Spate of openings of ‘destination’ stores as owners offer drinks, performances and crafts to tempt customers away from Amazon


It’s children’s story hour at the Book Nook in Hove and the owner, Vanessa Lewis, is doing a reading of Julia Donaldson’s rhyming picture book The Detective Dog.

“Sniff, sniff, sniff!” cry a gaggle of excited kids, in unison.

The parents sip lattes in a cafe at the back of the shop, while Lewis, a former teacher, bellows theatrically. Tucked away on a quiet street in the south coast town, the Book Nook is indicative of a growing breed of what Lewis describes as “destination” bookshops. People go out of their way to come here. “You can’t just exist as a bookshop nowadays; you have to make it a place where people want to hang out,” she says.

Last year, this small independent store beat national rivals such as Waterstones and Foyles to win children’s bookseller of the year. Battered over recent years by cut-throat competition from Amazon and the supermarkets, and by a huge rise in ebook sales, indie bookstores have had it tough. Now they’re fighting back, boosted by a surge in printed book sales – particularly children’s books – and innovative approaches to getting people through the door.

Figures to be released this month from Nielsen Book Research show that, in the first half of this year, Britons bought more than 78 million books. That’s almost 4 million more than in the same period in 2015. In cash terms, sales are up by more than 9%, the best performance in a decade – and sales of printed books are now growing faster than those of ebooks.

Sensing a resurgence, author Betsy Tobin and artist Tessa Shaw took the plunge and opened their bookstore, Ink@84, at the end of last year in Highbury, north London. But it’s a bookshop with a difference. Alongside the fiction and fancy drinks – including craft beers, gourmet coffee and artisan gin – they also screen films and run writing workshops, poetry evenings and children’s painting classes.

“We took over what used to be an estate agent, and people in the community practically fell on their knees with gratitude. They couldn’t believe something like this was opening on their doorstep,” says Tobin. They feel part of a renaissance of independent booksellers. Three have opened in this part of London in the past six months.

Four hundred miles north, the Edinburgh Bookshop has no cocktails on offer, but its owner, Marie Moser, will brew you a cup of tea if you look like you need one. “We’re always putting the kettle on for people,” she says. Four years ago, Moser, 50, took over what was then a struggling bookstore, risking most of her life savings. She has since doubled its turnover. “I never believed the book was dead. These things take a hundred years to shake out,” she says.

The key was increasing the range of books and allowing people to be more hands-on. “We’re not a precious bookshop.” Surprisingly for a bookshop owner, Moser isn’t against ebooks. She bought her mother an e-reader last year (they are light and you can zoom up the font, she says). But there is no love lost for Amazon: “If you say the A-word in my shop, you get a honk with our car hooter,” she jokes.

She is not alone in her dislike. “Our customers, on the whole, don’t want to use Amazon, and make a conscious choice not to,” says Tobin. “For the first couple of years, everyone was attracted by the low prices and overnight delivery. But then people started to think about what they were losing in terms of discoverability of books.”

Tobin believes the resurgence of printed books is linked to coverage of Amazon’s alleged tax avoidance and zero-hour contracts. Sales of e-readers such as the Amazon Kindle are in a tailspin. According to data group Euromonitor, the UK is now buying around half the number that it was five years ago.

Some analysts identify a cultural shift: “The migration to printed books is about people wearing their reading tastes on their sleeve. We had lost that. It’s like with music, and the resurgence in vinyl,” says Richard Cope, a trends consultant at research firm Mintel.

So is this a tipping point in the battle between printed books and ebooks? Is the ebook on its way out, even? The head of Nielsen Book Research, Andre Breedt, thinks not: “Ebooks are here to stay. Yes, growth has slowed, but it’s more that it has migrated to self-published books. Physical books will survive because they’re so culturally ingrained.”

Wednesday, July 27, 2016

The Hamilton Affair excerpt: Alexander Hamilton shares his upbringing with Eliza

Elizabeth Cobbs' forthcoming novel is due out in August

Alexander Hamilton’s story is ripe for fictionalization, as Broadway fans and pop culture obsessives know from the success of Lin-Manuel Miranda’s Tony-winning musical, Hamilton. But the founding father’s life is re-written once again in Elizabeth Cobbs’ forthcoming novel, The Hamilton Affair, out August 2.

The Hamilton Affair unspools the love story between Hamilton and his wife, Eliza Schuyler Hamilton — including Hamilton’s famous affair with Maria Reynolds, a storm Alexander and Eliza were eventually able to weather. In an exclusive excerpt below, Alexander confesses his impoverished upbringing to Eliza:

Excerpt from The Hamilton Affair by Elizabeth Cobbs

Alexander looked over at Eliza. The candlelight cast ribbons in her shiny chestnut hair, and the skin of her cheek looked velvety. She was knitting a glove for a wounded drummer boy she had befriended at the hospital. Eliza collected strays— homesick soldiers, orphaned kittens, one-legged veterans, shy spinsters, and so on. When he tried to kill a spider for her, she insisted on delivering it unharmed to the barn on a twig.

“What do you mean that our currency problem is an illusion, Colonel Hamilton? If that’s so, why does a bushel of corn now cost six times what it did two months ago?” Eliza Schuyler’s uncle was nearly apoplectic. Doctor Cochran held his pipe away from his teeth. It had gone out. “And those reprobates in New York! Give them more money? Are you mad?”

Doctor Cochran couldn’t grasp the fact that lack of confidence in the money supply drove down the currency’s value. America needed a national bank to put its house in order. It took a fistful of Continentals to purchase what one dollar bought a year earlier.

Alexander had tried to explain the concepts he learned in Malachy Postlelthwayt’s Universal Dictionary of Commerce. But as often happened, stubborn assumptions impeded comprehension. In Alexander’s experience, prejudice and ignorance were the brick and mortar of men’s prisons. Say “bank,” and otherwise sane gentlemen foamed at the mouth and started barking. He knew with scientific certainty what would save their revolution from economic collapse, but he might as well teach Greek to the Cochrans’ Scottish terrier.

Alexander had been courting Eliza Schuyler for nearly a month. He had visited the Cochrans’ home almost every evening since the skating party. Each time he came away more bewitched by the pretty young woman whose goodness was a balm on all his scars and whose lack of guile he found fascinating. If she tried harder to ensnare him, she would be easier to resist.

“She doesn’t have an ounce of vanity,” he told James McHenry, the stout Irishman who had joined Washington’s military family. Alexander refrained from discussing Eliza with Tench Tilghman. The suave Southerner menaced all his plans. “I don’t believe she has any idea how pretty she is.”

“Then you’d better decide how you feel before the lass finds out,” McHenry said, “or she’ll take aim for bigger game.”

Alexander found her family endearing—especially the witty, mischievous Angelica, who had arrived in Morristown with her English husband—but after a time, he wished he could drown all of them. He wanted Eliza alone. On this particular evening, Doctor Cochran might have retreated into his study had Alexander not foolishly started spouting his economic theories. He could kick himself.

“Uncle John,” Eliza said without flagging in her knitting, “tell us about your research on smallpox inoculation. Have you submitted your notes to Mr. Franklin’s Philosophical Society?”

His niece’s query brought a wrinkle to Doctor Cochran’s brow. “No, it seems there’s never enough time.”

Eliza wore a simple burgundy gown that showed her slender but voluptuous figure to superb effect in Alexander’s eyes: white neck revealed, bosom suggested, waist and hips a swirl of delicious, satiny curves.

“How fortunate that you were able to leave the hospital early today,” she said.

“That’s an excellent reminder, my dear.” He set down his cold pipe and turned to Alexander. “Would you indulge me, Colonel? I have a bit more time than usual to rummage in my papers. I ought to use it to advantage.”

“Of course, sir.”

Once the doctor had left, Alexander crossed the quiet parlor to examine Eliza’s handiwork, or so he pretended. He took the seat next to her and picked up a glove she had just finished. Perhaps

the next pair would be for him. If he was lucky. If she didn’t turn away aghast.

“How do you know how large to make the gloves?”

Eliza smiled up at him. Alexander felt he could swim in her dark eyes.

She held up her right hand. “I just placed my palm against Private Brady’s. I saw how much bigger his was than mine, and knitted accordingly.”

“Don’t tell me you’re holding hands with our drummer boy.” Alexander felt a stab of jealousy. “Your charms might induce heart seizure, and we can’t afford any more casualties.”

Eliza smiled as she resumed knitting. “I believe you’re jealous, my dear colonel. That’s exactly how I size mittens for my younger brothers.”

“I’ll not be jealous if that is how you treat your brothers.” Alexander reached over, took Eliza’s needles, and set them in the basket at her side. “But your kindness induces me to hope for a different place in your affections. I want to know your heart—everything you feel, shady or bright.”

Eliza made no protest when Alexander raised her hands to his lips. He kissed the backs first, then her delicate palms. They smelled of flowers. She caught her breath. He felt his own deepen. Eliza withdrew her hands. He looked at her inquiringly. He couldn’t bear for her to pull away now.

“Alexander,” she said, for they had entered into a first name basis a few weeks earlier, “I’ve no qualifications as a coquette. You mustn’t make love to me as you do girls in town. I’m a country mouse.”

“Then the cities should be leveled. I’ve never met anyone as captivating as you.”

A pink blush suffused Eliza’s face and Alexander felt emboldened to take her hands again. They were so small. He was overwhelmed by the sense that she was defenseless. She had erected no barriers. Only a dress and petticoat shielded her, yet she didn’t draw away.

The desire to possess and protect overwhelmed him. Alexander took a deep breath. He wanted to tell her she would always be safe with him. But first he must know if he was safe with her.

“Please don’t mistake me for a man who woos a different damsel every day,” he said. “I’ll admit I’m ardent, but the Almighty gave me a good heart along with a good head. Before we met, I preferred to die a hero. You make me want to live.”

Alexander swallowed—and then went hollow inside. He hated what he had to say next. The words, the thoughts, the reality were repugnant. He felt as naked as a slave on the block in Christiansted. It took more courage than anything the war had yet required, but he wanted none of the sordid shadows that had ruined his parents. No matter the cost, he must tell her.

“There’s something you should know—and if it causes you to send me away, I promise to bear no grudge. You deserve someone worthy. I’m earnest, but I’m poor. I can’t offer you what men of better birth can.”

Eliza squeezed his hands tightly. Alexander fought the compulsion to crush her in his arms.

“I know all that,” she whispered. “Love is wealth enough.”

Alexander took a deep breath. “My family isn’t like yours.”

She smiled. “I have family enough for two.”

“No. It’s … I’m not what I appear.”

Rancid shame rose in his throat, but he went on. He must tell her the worst. “My parents weren’t legally married. I was born in disgrace.”

Then, as plainly as he could, his eyes fixed on the floor, Alexander told her the terrible tale he had never told anyone else, either because they knew it or because they didn’t. Mama’s dishonor and death, his father’s disappearance, his own illegitimacy.

Eliza didn’t move during the excruciating speech.

“I’m an outsider, Betsey. Always waiting for the moment people find out and despise me as a pretender. My mother was good, but they called her a whore.” He stopped. The word was bitter.  “Every man dreams of a son. Under Danish law, I don’t own the name I would give him.” Alexander stared now at the hands she hadn’t yet stolen back. “Forgive me, Eliza.”

The room sounded empty. Only the wind in the pine branches disturbed the silence. Alexander looked up.

Tears rolled down her beautiful cheeks. Alexander couldn’t tell if she wept for his misfortune or because their courtship had ended.

He let go of her hands. There was stern comfort in doing what must be done. He would rather destroy his own future than hers. He’d always known happiness wasn’t his lot in life.

Eliza took her knitting basket off the couch and placed it at her feet. She turned to him and slid her arms around his chest.

Alexander inhaled the intoxicating scent of her thick, glossy hair. Every bit of her smelled wonderful.

Unaware until that instant of the unbearable tension that gripped him, Alexander softened. A lump rose in his throat. He pulled away. It took his last reserve of self-restraint. He met her eyes.

“Are you sure? If people find out, they’ll never let you forget what I am. And what I’m not.”

Eliza placed a finger to his lips, then pressed. “Alexander. I know who you are.” She looked toward the open doorway. “And yes, I’m sure. Why do you think I tricked Uncle John into leaving?”

Alexander stared, then burst into laughter. “You scheming vixen!” He gazed into her eyes. So she wasn’t entirely without guile. “You’re beautiful. You’re perfect.”

He wrapped his fingers around her wrist and pulled her to him. He never wanted to stop kissing her.

Man Booker Prize 2016 longlist revealed

The prestigious list includes titles from J.M. Coetzee, Elizabeth Strout, and A.L. Kennedy

The 2016 Man Booker Prize longlist made its debut on Wednesday, and the list includes buzzy books from Nobel Prize and two-time Man Booker Prize winner J.M. Coetzee, 2012 nominee Deborah Levy, past judge A.L. Kennedy, and four authors with debut novels (David Means, Wyl Menmiur, Ottessa Moshfegh, and Virginia Reeves). Five authors hail from the United States (Paul Beatty, Means, Moshfegh, Reeves, and Elizabeth Strout).

The Man Booker Prize is awarded annually to the best novel of the year written in English and published in the United Kingdom. The longlist, also known as the Man Booker Dozen, always consists of either 12 or 13 books. Following today’s announcement of the longlist, the 2016 shortlist will be announced September 13 and the winner will be chosen October 25 at an awards ceremony at London’s Guildhall, televised by the BBC. The prize is a chance for little-known but talented authors to achieve recognition and gain readers.

“From the historical to the contemporary, the satirical to the poetic, the novels in this list come from both established writers and new voices,” the Man Booker chair of this year’s judges Dr. Amanda Foreman said in a statement. “The writing is uniformly fresh, energetic and important. It is a longlist to be relished.”

A Brief History of Seven Killings by Jamaican author Marlon James nabbed last year’s award, and A Little Life by Hanya Yanagihara notably made the shortlist. Recent authors featured on Man Booker lists include Joshua Ferris, David Mitchell, Jhumpa Lahiri, Ruth Ozeki, and Eleanor Catton (the latter won the prize in 2013 for The Luminaries).

See the complete longlist below:

Paul Beatty - The Sellout
J.M. Coetzee - The Schooldays of Jesus
A.L. Kennedy - Serious Sweet
Deborah Levy - Hot Milk
Graeme Macrae Burnet - His Bloody Project
Ian McGuire - The North Water
David Means - Hystopia*
Wyl Menmuir - The Many*
Ottessa Moshfegh - Eileen*
Virginia Reeves - Work Like Any Other*
Elizabeth Strout - My Name Is Lucy Barton
David Szalay - All That Man Is
Madeleine Thien - Do Not Say We Have Nothing

Man Booker prize judges reveal 2016 longlist

Two-time winner JM Coetzee’s latest book is on list along with little-reviewed crime thriller by Graeme Macrae Burnet

A psychological crime thriller will compete with the latest novel from the Nobel prize winner JM Coetzee for this year’s Man Booker prize, the judges have revealed as they released details of the 2016 longlist.

In total, 13 novels make the list. Six are by women and seven by men, with five American writers, six British, one Canadian and one South African.

The list includes Coetzee, who is the first person to win the Man Booker twice, and well known writers such as Deborah Levy, AL Kennedy and Elizabeth Strout.

The chair of judges, Amanda Foreman, called it a very exciting year. ”The range of books is broad and the quality extremely high. Each novel provoked intense discussion and, at times, passionate debate, challenging our expectations of what a novel is and can be,” she said.

“From the historical to the contemporary, the satirical to the polemical, the novels in this list come from both established writers and new voices. The writing is uniformly fresh, energetic and important. It is a longlist to be relished.”

Perhaps the most surprising book on the list is Graeme Macrae Burnet’s His Bloody Project, a crime thriller published last year by the tiny independent crime fiction imprint Contraband.

It was not widely reviewed although it was described enthusiastically by the critic Jake Kerridge as “a real box of tricks … a truly ingenious thriller as confusingly multilayered as an Escher staircase”.

In truth, the book is more than your average crime thriller. Foreman said: “We very strongly believe in books which transcend their genres and His Bloody Project really does that and that’s what makes and refreshes literature, so we were very excited to have that on the list.”

Glasgow-based Burnet said he would call it a novel about a crime rather than a crime novel, although he had no problem about the label.

“I’m totally thrilled and totally thrilled for the publishers,” said Burnet who named Georges Simenon as his literary hero. “You look at the other names on the list and you think ‘wow’.”

Could a crime thriller win the Man Booker prize? It was given odds of 6/1 by William Hill which made Kennedy and Coetzee joint 3/1 favourites.

The 76-year-old Coetzee, who won the prize with Life & Times of Michael K in 1983 and Disgrace in 1999, is listed for The Schooldays of Jesus, a book not due out until September, meaning very few people beyond Man Booker judges have read it.

What is known is that it is manifestly a follow-up to his 2013 novel, The Childhood of Jesus, which baffled – and delighted – many readers and was described by the Guardian as involving a Kafkaesque retelling of the Nativity story.

Foreman feels people may be equally baffled by the new novel. “This is the book which will have many, many, many people debating and arguing about what it means and that is one of the most marvellous things that a book can do – provoke intense discussion and debate,” she said.

After Coetzee, the only previously Booker-listed author is Levy, for Hot Milk.

Levy was shortlisted in 2012 for Swimming Home, which had initially failed to find a publisher for being “too literary” for the marketplace.

There was no trouble this time, with Hot Milk published by the Penguin Random House imprint Hamish Hamilton and well received by critics. Erica Wagner, in the Observer, called it “a powerful novel of the interior life” with “a transfixing gaze and a terrible sting that burns long after the final page is turned”.

Remarkably, the Scottish writer Kennedy has never made it on to a Booker longlist, but has this year been chosen for her eighth novel Serious Sweet, a London love story told over the course of 24 hours.

The independent publisher Oneworld celebrated its first Booker success last year when Marlon James won the prize with A Brief History of Seven Killings, due to be made into a TV series by HBO.

Oneworld has a contender once more with the Californian Paul Beatty’s The Sellout, described by the Guardian as “a galvanising satire of post-racial America”. The reviewer Seth Colter Walls wrote: “The longer you stare at Beatty’s pages, the smarter you’ll get.”

There are four debut novels on the list: Hystopia by David Means, The Many by Wyl Menmuir, Eileen by Ottessa Moshfegh and Work Like Any Other by Virginia Reeves.

Means, a critically acclaimed American short story writer who has been compared to John Cheever, is longlisted for a novel which imagines a history in which John F Kennedy was not assassinated, the Vietnam war drags on and returning soldiers have their traumas wiped.

Booker prize judges normally find a book which has been off most people’s radars and that certainly applies to Menmuir’s novel, published by the small independent Salt.

Menmuir, who wrote the book as part of his Masters degree at Manchester Metropolitan University, lives on the north coast of Cornwall and his novel tells the story of a man who moves to an abandoned house in an isolated Cornish fishing village. The longer he stays, the more uncomfortable and bizarre life becomes.

Menmuir said he initially ignored the call telling him of his listing because he was having coffee with his 90-year-old gran. “I’m in shock, it is something I could not have expected at all. I’ve got the ambition maybe, but the expectation zero.”

Boston-born Moshfegh is longlisted for her 1960s-set novel which tells the story of an unhappy young woman and a bitterly cold Massachusetts winter. The Guardian’s reviewer said it brought to mind Sylvia Plath’s The Bell Jar.

The fourth debut is by the Texan writer Reeves. Set in rural Alabama in the 1920s, it tells the story of a pioneering electricity engineer sent to prison for manslaughter after a young man stumbles on one of his illegal power lines.

The other UK novelists on the list are David Szalay, for a novel praised as a “kaleidoscopic portrait of masculinity, and Ian McGuire, for The North Water, set in the 1850s in the dying days of Hull’s whaling industry – a novel Ladbrokes made its 3/1 favourite to win.

Coetzee, born in Cape Town and now an Australian citizen, is the only African writer on the list and Asian-born writers are conspicuous by their absence.

The Canadian writer Madeleine Thien is longlisted for Do Not Say We Have Nothing, published by Granta, which tells the story of musicians who suffered during and after China’s Cultural Revolution.

The last US writer longlisted is Strout for My Name is Lucy Barton.

Notable absentees include Ian McEwan, Julian Barnes, Rose Tremain, Edna O’Brien, Thomas Keneally, Don DeLillo and Jonathan Safran Foer.

This year’s prize is the third year that American authors have been permitted to compete, a rule change that sparks debate about the relative strengths of British and American fiction.

Foreman said the key issue was that the two cultures were distinct. “What we have to avoid is homogeneity; that would be terrible,” she said. “These two cultures are alive but they are not the same. They have a different literary and historical heritage which informs them and it is really important that we don’t make literary soup out of them.”

Judges for the prize this year are Foreman, Jon Day, Abdulrazak Gurnah, David Harsent and Olivia Williams. They will read all 13 books and announce a shortlist on 13 September. The £50,000 winner will be revealed on 25 October.

Anger as Derby plans to hand over most of city's libraries to volunteers

Campaigners condemn strategy to retain four council-run branches, but pass the other 11 to voluntary operations

Derby city council’s plans to hand 11 libraries over to volunteers have been slammed by campaigners as tantamount to destroying them.

Derby has said that “as a result of the government continuing to cut local government funding”, it needs to slash £648,000 from its libraries budget. It has proposed a series of options, of which its preferred choice is to close the city’s central library, relocating it to a new “Derby Riverside library”, and to hand 11 other branches over to volunteers, according to the Derby Telegraph. Under the proposal, just four libraries, including Riverside, would continue to be run by the council, with each community-run library given an average annual grant of £17,500.

The council, which will open a consultation on the proposals in the autumn, has admitted that there would be “a significant reduction in the number of paid jobs” in the city’s libraries as a result of the cost-cutting, and that “if enough volunteers don’t come forward to run a particular library, that library would close”. The grants, meanwhile, would not be sufficient to cover running costs, and “management groups would need to supplement their council grant by fundraising activities or generating some income from other sources”.

The deputy leader of Derby city council, Martin Rawson, said: “The options to be presented to cabinet are unfortunately brought about by the necessity to reduce costs as the government continues to cut the council’s budget.

“As a Labour administration, whatever option is agreed, our strong desire is to see a positive future for every library, as we know how important they are for local communities. However, to do this we will all need to pull together, volunteers will need to come forward and community groups will need to work together with library staff and local councillors to ensure that no library is forced to close, but rather delivered in a different way.”

Public Libraries News, which tracks changes to the UK’s library services – 72 libraries and five mobile libraries have come under threat since 1 April 2016, according to the site – said the proposed cuts would “keep a bare minimum of library provision” in Derby.

Laura Swaffield, chair of the national Library Campaign, said the proposals would have been a “sensational story a couple of years ago”, but that such cuts are now “getting to be the norm”.

“As always, the money saved is peanuts – just £648,000 per annum from destroying 11 much-needed local libraries. And handing them to volunteers does mean destroying them,” said Swaffield. “As always, the council blithely assumes that any fool can run a library. But it’s skilled staff that transform a room with books and PCs into a vital frontline service meeting a huge range of needs. Instead, Derby will enter a nightmare of ‘training’ and ‘supporting’ constantly changing volunteers, who in turn will have to raise funds for the building, year after year.”

Swaffield added: “Experience so far shows that [volunteer libraries] don’t work, and won’t last. But central government has cheered on a mass nationwide transfer to this rotten substitute for what was a national public library network that opened up endless possibilities to everyone, right there in the community.”

Publisher Gail Rebuck honoured with painting in National Portrait Gallery

The chair of Penguin Random House and Labour peer admitted she was ‘speechless’ when told the work would hang in the central London gallery

A portrait of one of the most influential figures in British publishing, Gail Rebuck, chair and former chief executive of the Penguin Random House group and a co-founder of World Book Day, is being unveiled at the National Portrait Gallery in London.

Rebuck, a Labour peer since 2014, said she was “unusually speechless” when asked about being added to the collection.

The final image, by the award-winning Scottish painter Jennifer McRae, who already has several portraits, including one of the writer Michael Frayn in the collection, shows Rebuck against a packed bookshelf, with her desk scattered with books, a notebook and her Kindle. In the background are two favourite views, the rooftops outside her London office and the favourite view of their home of her late husband, Lord Gould – better known as New Labour adviser Philip Gould.

Rebuck said she had come to see the similarities between the artist’s blank canvas and the empty pages her writers faced: “Jennifer’s portrait is full of detail and our ‘in jokes’ as we got to know each other over a year of sittings. I came to appreciate the skill of portraiture – the blank canvas so similar to the blank page as a writer begins their work. I am full of admiration.”

McRae described her subject as “a handsome and strong woman with self-deprecating charm and intelligence, who also happens to be at the centre of the publishing world and rather brilliant at her job”.

The NPG director, Nicholas Cullinan, called it “a thoughtful portrayal of one of Britain’s most influential publishers”.

The portrait is on display, free, in room 36 of the gallery.

'Amazon without Amazon': one-hour book delivery service launched

NearSt, a new platform to order titles from local bookshops – and get them to customers within an hour – begins in London

At Ink@84, an independent bookshop in Highbury, north London, an order pinged in on Thursday morning for Jared Diamond’s Guns, Germs and Steel. The Pulitzer prize-winning bestseller was then to be delivered to a nearby customer within 60 minutes – by NearSt, a new platform that is offering one-hour delivery for books across London, as well as the facility to browse your local shops with your phone.

Almost 40 bookshops are now on NearSt’s newly-launched platform, which allows customers in London to enter their postcode and the name of the book they’re looking for on the site or app. They can then order the book for instant collection from a local store, or have it speedily delivered. Entering Joe Hill’s post-apocalyptic thriller The Fireman for my home address in Kilburn, I’m told I can either walk nine minutes to a local shop, Queen’s Park Books, where it will be reserved for me, or have it delivered within the hour.

The start-up is “absolutely” out to challenge Amazon, says co-founder Nick Brackenbury. “We think finding and buying something from a shop nearby should always be faster and easier than ordering it online. After all, there are hundreds of bookshops all over London, right on customers’ doorsteps. But today their inventory is invisible to shoppers’ smartphones, making an online retailer the easiest choice. With NearSt we’re changing that, by putting the incredible range and value of local shops within just a couple taps of someone’s smartphone.”

Delivery is handled by a range of scooter and bike services across London, says Brackenbury, enabling NearSt to keep its costs low. The platform takes 6% of the final sale price of the book, with no set-up or monthly fees for stores to join. Brackenbury says because the platform works with bookstores’ existing systems, they can start using NearSt “in less than 10 minutes”.

“The key is that shops don’t need to change what they’re doing, or start using some new technology, like an iPad at the till, or anything like that,” says Brackenbury. “We then show this inventory through our site to shoppers searching for their books nearby. Shoppers can then place an order in just a couple of taps, pay, and have their book ready for instant in-store collection or delivery within the hour.”

At Ink@84, Betsy Tobin calls it “dead easy: an automated phone call asks you to double-check stock is physically there, then press a button to acknowledge. A very streamlined process. My staff person has just drawn an interesting parallel with Pokémon Go, in that people enjoy using tech to track down a product but also like the physical/social process of going out to get it.”

“From our point of view the chief attraction was not so much to ‘take on Amazon’ as to drive new customers to us: we’re a new business, having opened only last December, and many people in our area still don’t know we’re here. Our customers already eschew Amazon in large part; you’d be surprised how many people do. But yes, if NearSt makes it easier for them to do so, then it is good for us, good for the industry and good for books more generally,” says Tobin.

In central London, Andy Barr at Belgravia Books, which has already fulfilled orders through NearSt, calls it “genius – kind of like Amazon without Amazon”.

“It’s a hybrid of online shopping with the high street. Whether customers are coming to the shop to collect or having the book delivered to them, it is making us known to people who did not know of our existence, and it is generating sales. It is selling books, and that is what bookshops are for,” he says.

Along with Belgravia Books and Ink@84, other bookstores currently on the platform include West End Lane Books, Lutyens and Rubinstein in Notting Hill, Brick Lane Bookshop in Shoreditch and Blackwell’s in Holborn.

So far, response from shoppers and shops to the service has been great, says Brackenbury. All its current shoppers have come through word of mouth and referrals to date, but NearSt is working on “a very exciting connection to Google … that will make product discovery outside our site and app a doddle”. The company is also preparing to open the platform up to third parties, such as book review websites, as well as developers. From the end of 2017, NearSt plans to move its service into other UK cities.

Dennis Cooper fears censorship as Google erases blog without warning

The author and artist’s 14-year-old blog, in the same vein as his transgressive novels, was taken down by Google – even erasing an unfinished book

Two weeks ago, writer and artist Dennis Cooper was checking his Gmail when something peculiar happened: the page was refreshed and he was notified that his account had been deactivated – along with the blog that he’d maintained for 14 years.

Cooper’s DC’s Blog had been a prime destination for fans of experimental literature and avant garde writing. The author of such acclaimed and transgressive novels as Frisk and Closer would showcase the work of other writers, while the blog also hosted his recent novels which use gifs instead of text.

An American now based in Paris, Cooper made several complaints on Google’s forums and subsequently enlisted a lawyer to approach the California-based company.

“He talked multiple times to Google’s lawyer and they’ve basically stonewalled us,” Cooper told the Guardian. “I can’t even get a response from them or anything. I have no idea why they did it or what’s going on.”

The suspension of Cooper’s blog has been labeled as censorship by some in the art world and raised concerns about Google’s power to eliminate alternative voices.

Stuart Comer, a curator at MoMA and a longtime fan of Cooper’s work, said this is effectively a return to the culture wars of the 80s and 90s.

“I think this is definitely censorship. The problem is nobody knows what the specific issue is and certainly Dennis has posted images that one might find troubling,” Comer said. “It’s just yet another means by which certain members of the government or certain internet conglomerates have decided to make it impossible for culture to be produced.”

Cooper updated DC’s blog six times a week, highlighting film, fiction and music he enjoyed. He had a featured post, twice a month, where he would take ads by escorts and highlight their literary qualities. Cooper’s work often depicts sexuality and violence in graphic terms, and some of the writing and images dealt with similar themes.

First amendment rights to free speech in the United States are constrained when one is operating in the world of corporations such as Google or Facebook. “In America you have first amendment rights but that only protects you against public censorship,” said Pati Hertling, an art lawyer and independent curator. “Because it’s Google, they’re a private corporation, it’s a private realm, they can do whatever they want.”

Google’s terms of services state they can “suspend or stop providing our services to you if you do not comply with our terms or policies or if we are investigating suspected misconduct”. However, users are entitled to a “reasonable advanced warning” where “reasonably possible”, which it seems Cooper did not receive.

Google told the Guardian: “We’re aware of this matter and not able to comment on specific user accounts.” However, they did not immediately respond when asked about specific terms of use.

Cooper himself is uncertain whether censorship was the motivation behind taking down his site. His blog has a warning that it contains adult content and he noted that other Blogspot accounts feature pornographic imagery.

The ramifications of the deactivation are severe. His newest gif novel, Zac’s Freight Elevator, which he’d been working on for seven months, was exclusively hosted on the blog and is now lost. His deleted email account also contained more than a decade’s worth of contacts, as well as offers to talk and perform.

His network of fans have come out in support of the blog. Three followers who work at Google launched simultaneous internal investigations into the blog’s closure. One senior Google staffer worked with Cooper to resolve the issue until 2am one night to no avail.

Other Silicon Valley giants have come under scrutiny for censoring online content in spaces where they effectively have a monopoly on the audience. Most recently Facebook was accused of drowning out conservative views with its news algorithms.

“I think this might seem like a small thing, it’s the sort of small thing that accumulates to a very big thing,” Comer said. “The moment you start attacking anyone’s artistic freedom, it snowballs.”

Cooper is hoping public pressure will push Google to respond but is resigned to the fact that he may have to sue in order to regain his work.

His advice to other artists who work predominantly online is to maintain your own domain and back everything up.

“As long as you back everything up. I don’t see really the danger,” he said. “But if you’re at the mercy of Google or some place like Google, obviously I’m a living example of not to be blind like that and think that everything is hunky dory.”

Tuesday, July 26, 2016

Harry Potter and the Cursed Child: First review

Effects-stuffed stage sequel explores the past and future of The Boy Who Lived

“Why is everybody staring at us?” asks young Albus Potter nervously.

Better get used to it, kid

Harry Potter and the Cursed Child has pulled off a transfiguration challenge worthy of Professor McGonagall: Converting the visually arresting world of Harry Potter into stage play. Currently in previews and officially opening July 30 in London’s West End, Cursed Child goes far beyond dutiful brand extension with an entirely original and hugely ambitious sequel to the Potter books, presented in two parts and nearly five hours long. Author J.K. Rowling, working with London theatre veterans Jack Thorne and John Tiffany, have delivered a production that’s as spectacular as it is ambitious, stuffed with special effects and twists that had a preview audience gasping, Cursed Child is a story that doesn’t play it safe with the Potter canon and will change how fans see certain favorite characters forever.

The plot, kept under an invisibility cloak of secrecy until now, has a very grabby premise. (Spoiler alert: The following three paragraphs will discuss what happens during the first half of Part One. Given the mounting excitement in the theater as fans realized where the story was heading, revealing this feels a bit like opening somebody else’s birthday present, so skip this portion to remain in the dark).

Cursed Child starts precisely where the books left off, staging the epilogue from Deathly Hallows where a 40-year-old Harry (Jamie Parker) and his wife Ginny (Poppy Miller) gather at King’s Cross Station to send their middle child Albus Severus (Sam Clemmett) off to his first year at Hogwarts School of Witchcraft and Wizardry. Albus frets that he might get sorted into the dreaded Slytherin House. Following an instantaneous change from muggle clothes to Hogwarts uniforms, Albus’ fears are realized when The Sorting Hat places him into the house associated with his father’s enemies. Equally scandalous, Albus befriends Scorpius Malfoy (Anthony Boyle), son of Harry’s childhood nemesis Draco (Alex Price), who bears his father’s pale hair and skinny frame, but seemingly none of his cruelty. Albus and Scorpius are both struggling under the crushing weight of their family’s opposing reputations and even their own names — Albus Potter is neither as wise as the famed Headmaster Dumbledore, nor as capable as his father (when it comes to riding a broom, Albus literally can’t get it up), while Scorpius doesn’t want to sting anybody (so naturally he’s tormented when he hears rumors that he’s secretly the son of Lord Voldemort). The story’s action mainly takes place during the duo’s fourth year, when an outlawed Time-Turner is discovered that grants the power to travel many years into the past. An increasingly bitter Albus, resentful of his father’s insurmountable legacy, hatches an audacious and dangerous plan to correct one of his father’s biggest “mistakes.’”

The time-travel storyline lets Cursed Child have it both ways, with a forward-spinning tale that also revisits iconic moments from the saga’s past – it’s like the Back to the Future II of the Potter-verse (It’s your kids, Harry! Something’s gotta be done about your kids!), with Rowling remixing popular elements from her middle stretch of Potter books. Cursed Child has the time-travel of Prisoner of Azkaban, tackles key events from Goblet of Fire (Rowling’s finest and most perfectly structured novel), resurrects the teen anger of The Order of the Phoenix, and has a titular mystery like Half-Blood Prince – who is the Cursed Child?

You’ll notice I’ve barely mentioned the title character; it’s Hogwarts: The Next Generation that drive the action in this story. Yet the original heroic trio of Harry, Hermione (Noma Dumezweni), and Ron (Paul Thornley), have plenty to do too. Harry is a Ministry of Magic worker whose scar is hurting again for the first time in 19 years while he ineffectually uses his wand to shuffle papers on his desk. Hermione has ascended to Minister for Magic and worries that creatures who once supported You Know Who might be gathering for some new dark purpose. Her husband Ron happily runs Weasleys’ Wizard Wheezes, and per usual has some of the best lines (telling Harry, “Your scar could be hurting because you’re getting old”).

The playwrights have stated the reason for the two-part format is the “epic nature” of the story, and that’s not an exaggerated description. There’s enough plot in Cursed Child (with 42 actors playing a variety of characters) to frame an 800-page eighth Potter novel. The play’s rehearsal script will be published July 31, and it’s breaking pre-sale records, but one wishes the tale existed in novel form; the Potter-verse feels somehow incomplete for such a version not to exist. Hardcore fans will definitely be pleased; the preview audience gave the final curtain a rapturous response, with one theatergoer declaring during an intermission, “I need to see it again.” (Good luck with that – the show is sold out through next May, though 40 tickets are being released online each Friday, and look rather like Wonka’s golden tickets).  

But seeing the play later rather than sooner is probably not the worst idea either: All the components are there for greatness, but this not-final preview version I saw last week was a potion that the perfectionistic Severus Snape would brew longer before serving up. Thankfully, it’s far more difficult to deliver what the play does well than to improve upon its stutters. Part One in particular seems a bit overstuffed – with some lengthy exchanges and a couple unnecessary scenes that could be cut altogether. The production needs more moments to let the actors take a breath and play their roles rather than speeding through pages of script faster than Harry on his Firebolt. “You talk too much,” one character declares, but the same could be said for nearly everybody.

Yet there’s something comfortably familiar about the excess too. It’s been nearly a decade since we’ve had a new Potter book and the film adaptations were largely tightly produced studio products. Some of the tendencies that critics might describe as flaws (such as abundance of exposition) also remind you of the joy of reading the Potter novels. In that respect, Cursed Child feels more like loyal adaption of Rowling’s writing than the films. If the movie-version of The Prisoner of Azkaban was 5 hours long and Rowling had final cut, the scenes would flow more like this. Still, it’s a problem when the audience is largely applauding Part One’s special effects (Part Two, which leviosas the story’s stakes through the roof of the Palace Theatre, is far tighter).

Speaking of the effects, this is Harry Potter, so you expect to see magic, and you’ll get plenty. There’s slight-of-hand, trap doors, wire flight, quick change, and smoke and mirrors galore. The cast seemingly had to become nimble amateur magicians to pull this off, and it’s impressive how many spell-casting elements of the Potter universe director Tiffany managed to portray in a live act (just don’t expect to see, like, Quidditch). During the preview I saw, each effect was executed almost flawlessly (though the Potter franchise should probably just avoid trying to pull off centaurs all together). At times the production seems like a complex miracle of blocking and stage direction, and with all the fire being thrown around you worry for the actors’ safety (one repeated gag has characters arriving through a lit fireplace — via floo powder, don’t you know — the flames going out and springing back as they slide out onto the stage). 

The performances are naturally the most work-in-progress aspect. There are shouted deliveries that recall Rowlings’ Order of Phoenix-era tendency to floor her caps-lock to prove characters are REALLY UPSET. As a grown-up Harry, laden with responsibilities that he’s unsure how to handle, Parker certainly looks the part and seems to have taken a couple cues from Rowling’s characterization and also Daniel Radcliffe’s performance in the films. Dumezweni’s Hermione heartily captures her character’s sternness but the script has unfortunately shed the fan favorite’s infectious passion and curiosity (blame the passage of time?). Best of the trio is Thornley, whose dad-joke-ready Ron seems spot-on. The three are like a distant radio signal of character familiarity, drifting in an out, intermittantly channelling their iconic past.  

Among the younger actors, Clemmett’s Albus is strong, though could benefit from some sympathetic tuning amid his waves of teen bitterness. The play’s most unexpected edition is Scopious, played all slumped and uncertain by Boyle; he’s an entirely new character who’s fully realized and compelling. Together they’re the heart of this new tale, which ultimately seeks to wrestle with the heady challenges of parenting and the less-certain responsibilities of being a parent’s child. As Draco surprises us by saying at one point: “People say parenting is the hardest job. It’s not. Growing up is.” It’s those developing years that leaves everyone feeling like they’re on stage, in the spotlight, and cursed. 

More: Check out 22 photos from Harry Potter and the Cursed Child