A memoir by Winnie-the-Pooh author A.A. Milne shows a writer frustrated at how his creation undermined his adult literary cred. Republished 70 years after it went out of print, It’s Too Late Now reveals a trapped Milne wishing for more control over his own narrative: “I wanted to escape from [children’s books] as I had once wanted to escape from Punch; as I have always wanted to escape. In vain. England expects the writer, like the cobbler, to stick to his last.”
Jonathan Franzen’s Kraus Project should be “a match made in heaven,” writes Jacob Mikanowski, because of how it pairs together “the old hater [Karl Kraus] and the new [Franzen], the Butch Cassidy and Sundance Kid of cultural criticism drawn together across the gulf of a century to take on all comers.” Alas, the end result is instead a “strange and rather discordant experience, like receiving a deep tissue massage while being spat on from a great height.” (Bonus: One of the best London Review of Books openers of all time.)
In a move that will likely become more and more common, The Weinstein Company has inked a deal with Netflix to license some of its latest (and most critically acclaimed) films to Instant Watch instead of traditional cable outlets. Coriolanus, Undefeated, and The Artist will be among the first titles released. Elsewhere, Vanity Fair profiles Netflix's "bloody but only slightly bowed" CEO, Reed Hastings.
“In Colombia, Mexico, Nigeria, Mozambique, it’s the real thing, not magic, and the only way to tell these stories.” Man Booker International Prize finalist Mia Couto discusses the label “magic realism,” the death of Cecil the lion, his new novel Confession of the Lioness – one of the most anticipated books of 2015, and post-civil war Mozambique. Pair with Philip Graham’s Millions essay on Couto’s fiction.