| |
Win
a FREE copy
of Rick Bragg's The Princeof Frogtown!
Re-thinking
Ingmar Bergman in an Irreverent Age
Download
WAG's first illustrated e-book—FREE.
Contents
and Graphic Design Copyright
1999-2008
|
 |
|
"I
had been watching a lot of Hong Kong action films
from the 80’s at the time I started work
on Jack Fish, and I wanted to get the
same kind of pace and energy into my book. “Noir”
comes up a lot about Jack Fish, but my
noir is more 80’s Hong Kong movie noir than
Jim Thompson or Ellroy—Technicolor noir,
as Jonathan Ames put it."
Click
here to read the full interview.
Other
recent WAG Chats:
John
Casey, translator of Linda Ferri’s Enchantments
Curtis
White, author of America's Magic Mountain
 
Erskine Childers'
The
Riddle of the Sands
In
1903, Erskine Childers did something profound: he
wrote the world’s first great seagoing spy thriller.
But The Riddle of the Sands opens so quietly
that a reader might think that Childers himself didn’t
know what he was creating.
As
the novel begins, it is late September, and its protagonist
– who goes by the name Carruthers to conceal
his true identity – is stuck in London. It’s
an especially lonely season, he tells us. His friends
(for what they’re worth) are on holiday, and
due to “a caprice on the part of a remote and
mighty personage,” he is left at his desk in
the Foreign Office to do work that
consisted
chiefly…in smoking cigarettes, in saying that Mr So-and-So
was away and would be back October 1st, in being absent for
lunch from twelve till two, and in my spare moments making
précis – let us say – the less confidential
consular reports, and squeezing the results into cast-iron
schedules.
Unfortunately,
while he is slated to take a holiday, he has nowhere
to go. He is, he tells us, “at the extremity
of depression.” Frankly, Carruthers is so comically
moody that the first chapter reads a bit like the
opening to an especially cranky Jerome K. Jerome novel.
Two
Men in a Yacht, anyone?
Click
here to read the full article.
|
|
 Cornel Wilde's
The Naked Prey
"Wilde's masterpiece offers a subtle
but powerful anti-war, pro-diplomacy argument, for those
who look past the film’s vigorous joys of the chase."
Click
here to read the full review.
 P.D. James'
The Lighthouse
"Her
two most recent efforts may have been a little weak, but
this time James has managed to produce a worthy new entry
in the growing Dalgliesh library."
Click
here to read the full review.
 Orson Welles's
F for Fake
"F
for Fake, Welles tells us in its opening minutes,
is about bigger ideas than simply one forger. It’s
about trickery, fraud and lies – and, by extension,
storytelling itself."
Click
here to read the full review.
|
|
