News in August 2013
News in August 2013
ECSTATIC NATION received a great review, and was editor’s choice, in The New York Times Book Review: “Wineapple makes good use of her gift…of communicating vast amounts of information in lively, cogent prose....The result is a masterly, deeply moving record of a crucial period in American history.” She was also interviewed on the August 11, 2013 edition of the Inside the New York Times Books Review Podcast.
Essays from Wayne Koestenbaum’s MY 1980’s AND OTHER ESSAYS were excerpted in on the New Yorker blog and on The Nervous Breakdown. Wayne Koestenbaum was also interviewed in Daily Beast Book Bag, discussing his five favorite books from the ‘80s; in the Oxford University Press, discussing the book’s inspiration; and on The Nervous Breakdown, in its regular “self-interview” feature. Farrar, Straus & Giroux published the book on August 13, 2013.
Josh Weil’s essay “How to Be a Man” was published in Esquire. The magazine has teamed with Narrative 4 for its ongoing project to produce a collection of stories by more than 100 of the world's greatest authors. Narrative 4 is a story exchange program founded by a group of authors, artists, musicians, educators, students and activists dedicated to creating social change. Weil’s first book, THE NEW VALLEY was published in May 2010 and his first novel, THE GREAT GLASS SEA, is forthcoming from Grove Atlantic in early 2014.
THE NEVER LIST is currently #20 on the UK hardcover bestseller list. The book was also recently reviewed by The Guardian which raved that “The Never List is still a read-in-one-go sort of book, and if you're after a genuinely disturbing thriller to take on holiday this summer, it'll be hard to beat.” Pam Dorman Books/Viking published in the U.S. on July 16, 2013.
Wayne Koestenbaum’s MY 1980’s AND OTHER ESSAYS was reviewed in Flavorwire, the Atlantic, the Chicago Tribune, and Lambda Literary. The Atlantic said, “Koestenbaum elevates pop culture discourse,” while Flavorwire called Koestenbaum “one of our most original essayists” and the book “one of the best accounts of how writers wrote about, lived, and worked in that decade of greed and conservatism.”
Choire Sicha’s VERY RECENT HISTORY: AN ENTIRELY FACTUAL ACCOUNT OF A YEAR (c. AD 2009) IN A LARGE CITY has been reviewed by the New Yorker blog and NPR Books. The book has also been featured in Time Magazine, New York Magazine, GQ and Interview. The New Yorker blog calls Sicha “one of the most esteemed documentarians of the Internet’s eternal present” and says that “What Sicha has written is exultant in a way no mere clever premise can be.”
Kirkus Reviews says, “Patterson writes a family saga of class and money, power and pretense, love and loyalty. Think The Thorn Birds or Rich Man, Poor Man among the Martha’s Vineyard moneyed set.” Quercus will publish LOSS OF INNOCENCE in the U.S. on October 1, 2013.
SAFE KIDS, SMART PARENTS by Jaycee Dugard’s personal therapist and leading family psychologist, Rebecca Bailey and her sister Elizabeth Bailey, was reviewed in the July 2013 issue of BOOKLIST, which said: "The information imparted is valid and worthy of note. Final chapters deal with how to discuss the topic of safety with children of various ages. All in all, quite a useful resource.” Simon & Schuster published the book on June 11, 2013.
Library Journal gives LOSS OF INNOCENCE a starred review, saying, “A title that is dripping with summer diversions, youthful passion and ideals, class tensions, and familial disruptions makes for wonderful reading whatever the season.” Quercus will publish LOSS OF INNOCENCE in the U.S. on October 1, 2013.
Josh Weil published the article “In Mongolia, the Skyline by the Steppes” in the New York Times. Grove Atlantic published his first book, THE NEW VALLEY on May 11, 2010. His first novel, THE GREAT GLASS SEA, is forthcoming from Grove Atlantic in late 2013.
Wayne Koestenbaum’s MY 1980S & OTHER ESSAYS was featured on the New Yorker’s Book Blog under “Books To Watch Out For: August,” saying, “These essays combine personal reflections and cultural criticism in Koestenbaum’s lavish, fragmented style.”