After taking a week off, the Picador team is back with some Friday Reads recommendations for you. It appears that Hurricane Sandy put nearly all of us in a non-fiction mood this week…
Gabrielle is reading How to Change the World by John-Paul Flintoff, one of the books in Picador’s new School of Life series, due out in the US in May.
Daniel is reading Will Oldham on Bonnie “Prince” Billy edited by Alan Licht and published by W.W. Norton in the US.
While not a recluse, Will Oldham does not have a history of being forthcoming in interviews. This book gives him the opportunity to talk about his work with Alan Licht, his friend and touring mate. That makes the conversation insightful, funny, and a must-read for any fan of the man or the myth.
The end-of-days weather of last week put Elizabeth in the mood to re-read The World Without Us by Alan Weisman.
Highly recommend, partly because of the excellent chapter on New York City (with focus on its subway system).
James is reading the 42 page afterword to the new, updated edition of Tom Friedman’s From Beirut to Jerusalem, on sale December 11.
P.J. will be reading Kurt Anderson’s Heyday.
It has been filling up my Twitter feed lately, and therefore my dreams.
Darin is working on a The Scientists: A Family Romance by Marco Roth, which Picador will launch on Monday for paperback publication next fall.
Justin, bucking the nonfiction trend, is reading Emile Zola’s The Belly of Paris, one volume of his twenty novel cycle about Paris in the late 1700s.
It’s amazingly evocative of that time and place (specifically Les Halles, the then-new, now-demolished center of food for the entire city). I’ve got four more on my shelf now, waiting to be read.
Alaina just finished Long Day’s Journey into Night by Eugene O’Neill.
I’m not one to pick up plays for pleasure very often, but when you’re trapped on Long Island during a hurricane and you’ve finished the only book you brought along, the books on your host’s shelf all begin to look extremely appealing. That said, this book surprised me. O’Neill portrays a drug and alcohol-addicted family undergoing a complete breakdown with precision— perhaps because the play is at least partly autobiographical. Definitely recommend.