After a sixteen year hiatus, American author Cormac McCarthy, whose last book, The Road, was written in 2006, will publish two new novels later this year. Both stories are connected, and will be released a month apart. The first title, The Passenger, arrives in bookshops on 25 October 2022:
1980, Pass Christian, Mississippi: It is three in the morning when Bobby Western zips the jacket of his wetsuit and plunges from the boat deck into darkness. His divelight illuminates the sunken jet, nine bodies still buckled in their seats, hair floating, eyes devoid of speculation. Missing from the crash site are the pilot’s flightbag, the plane’s black box, and the tenth passenger. But how? A collateral witness to machinations that can only bring him harm, Western is shadowed in body and spirit – by men with badges; by the ghost of his father, inventor of the bomb that melted glass and flesh in Hiroshima; and by his sister, the love and ruin of his soul.
The second book, Stella Maris, set eight years earlier, is based on the treatment transcripts of Bobby’s sister Alicia, who is a patient at a psychiatric hospital, and will be released on 22 November 2022:
1972, Black River Falls, Wisconsin: Alicia Western, twenty years old, with forty thousand dollars in a plastic bag, admits herself to the hospital. A doctoral candidate in mathematics at the University of Chicago, Alicia has been diagnosed with paranoid schizophrenia, and she does not want to talk about her brother, Bobby. Instead, she contemplates the nature of madness, the human insistence on one common experience of the world; she recalls a childhood where, by the age of seven, her own grandmother feared for her; she surveys the intersection of physics and philosophy; and she introduces her cohorts, her chimeras, the hallucinations that only she can see. All the while, she grieves for Bobby, not quite dead, not quite hers.
While I haven’t yet read The Road, I did see John Hillcoat’s harrowing 2009 film adaptation, starring Viggo Mortensen, Charlize Theron, and a then young Kodi Smit-McPhee.
Thirteen titles have been named on the 2022 International Booker Prize longlist. Awarded in its present format since 2016, the International Booker celebrates works translated into English, with the £50,000 prize split equally between the author and translator.
Among the titles translated from eleven languages into English, is Tomb of Sand, by New Delhi based Indian author Geetanjali Shree, and translated by American writer and painter Daisy Rockwell. Shree’s work is the first book written in Hindi to be included on the International Booker Prize longlist.
Just about all of these titles are new to me — the books I read, when time permits, tend to be contemporary Australian, but not always — so it’s good to see something new and not so familiar, that I can add to my to-be-read list.
Adaptable is an initiative of the Queensland Writers Centre that connects aspiring screen writers, working across all genres, with film and television producers.
Adaptable seeks material for film or television adaptation. Open to writers across Australia and New Zealand, the contest accepts any genre, fiction or non-fiction, published or unpublished. Queensland Writers Centre also identifes several early career unpublished/emerging writers to pitch their work to screen creatives, with these writers receiving mentorship and advice prior to the pitching sessions.
Regurgitator, Phil Jamieson, and The Fauves are among the artists banding together for a special fundraiser show in Brisbane this Friday night, raising money for the city of Lismore which has been so badly impacted by recent floods.
Talk about the trip of a lifetime. American space agency NASA accidently builds an Apollo Moon lander that’s too small for adult astronauts. So the investment doesn’t go to waste, a young boy is clandestinely recruited to take the vessel to the lunar surface, in Apollo 10 1/2, trailer, an animated feature directed by Richard Linklater.
The story of the first moon landing in the summer of 1969 from two interwoven perspectives. It both captures the astronaut and mission control view of the triumphant moment, and the lesser-seen bottom up perspective of what it was like from an excited kid’s perspective, living near NASA but mostly watching it on TV like hundreds of millions of others. It’s ultimately both an exacting re-creation of this special moment in history and a kid’s fantasy about being plucked from his average life in suburbia to secretly train for a covert mission to the moon.
Apollo ten and a half, this is Houston. Do you read?
The longlist for the 2022 Women’s Prize for Fiction was announced on Tuesday. Just under ten percent of the original one hundred-and-seventy-five submissions were among the sixteen titles selected. A few familiar titles leapt out at me: Great Circle by Maggie Shipstead, Sorrow and Bliss by Meg Mason, The Paper Palace by Miranda Cowley Hellerand, and The Sentence by Louise Erdrich. The shortlist, consisting of six titles, will be announced on Wednesday 27 April.
Heardle takes the Wordle experience, and translates it to music. You have six attempts to guess the title of a snippet of music, which you can hear anywhere from five to thirty seconds of, to help you figure it out.
Heardle is one of several variations of Josh Wardle’s word game (I’m not talking about outright duplicates here), that have spawned since October 2021.
It’s the latest in a string of Wordle-inspired online games to have popped up recently, including Worldle, which tests users’ geography knowledge, Dungleon, featuring fantasy characters over words, and the battle royale version, Squabble, where up to 99 players can race to figure out the word correctly, losing health points if they guess wrong.
If you’re familiar with music released in the last ten years, then you should have little difficulty winning Heardle. But will it be the next big thing, behind Wordle? Possibly. According to its creators “Heardle was made for a small group of friends, then somehow gained millions of players overnight.”
Twenty-five year old Oleksandra lives in Kharkiv, a city in Ukraine, about thirty kilometres from the Russian border. Her parents live in Russia, but so far Oleksandra has failed to convince them of the danger the Russian invasion of Ukraine poses to her, and Kharkiv.
“My parents understand that some military action is happening here. But they say: ‘Russians came to liberate you. They won’t ruin anything, they won’t touch you. They’re only targeting military bases’.” While we were interviewing Oleksandra, the shelling went on. The internet connection was weak, so we had to exchange voice messages. “I’ve almost forgotten what silence sounds like. They’re shelling non-stop,” she said.
