We announced the first Titlepage.tv episode yesterday and then watched about 15 minutes before leaving it paused on a goofy Charles Bock grimace for the rest of the day.
That’s approximately 10 minutes, 33 seconds more than Jessa from Bookslut watched.
And Sarah Weinman has a list of ten ways to improve the show, including:
To my dying day I’m going to hold out hope that there could be a fun, engaging, intellectually stimulating, TV show about books. This may not be it, although here’s to hoping that Titlepage learns from its mistakes and blossoms over the next few episodes.
Here’s my prediction though: Lots of people will watch this and think—hell, it’s not that hard to put together an internet show that’s at least this good. A bunch of different programs will suddenly come into existence, a few of which are actually quite good. Around the time that we find out that one of these new ones is 10 times more popular than Titlepage there will be a big media backlash against these “amateur” programmers, dismissing internet programs as “not the real thing.” A divisive spat will ensue mimicing the whole bloggers vs. print thing, and readers will be back where they started with nothing worth watching.
This sounds rather promising:
Daniel Menaker, former Random House executive editor and fiction editor at the New Yorker, will host a new online book show called Titlepage, the first of which appears on March 3 [. . .] Menaker will lead a group of authors in discussions that are modeled in part after Apostrophes, the popular French book discussion TV show, Charlie Rose and others. [via Shelf Awareness
I’ve ranted about this before, but a real, smart, good televised book program is one of the things this country is sorely missing. Menaker is brilliant, so I have high hopes for this . . . And hopefully he won’t have a prejudice against authors with an accent . . .
One of the most interesting facets of Translation Is a Love Affair is the brief bio on Sheila Fischman:
Sheila Fischman has published more than 125 translations of contemporary French-Canadian novels including works by Jacques Poulin, Francois Gravel, Anne Hebert, Marie-Claire. . .
The innovative works of legends like Borges and Cortázar not only defined a literary movement, they created an exotic and well-known image of Latin America and its people. A key element of works in the tradition of the magical realism. . .
Contemporary Japanese literature is all too easy to stereotype. As far as the American reading public goes, the only books that come out of Japan seem to be under one of three genres. The first is the “bizarre things happening. . .
I was born in the final decade of communism’s flailing grasp on the Eastern Bloc, and so what I know of the fall of the Berlin Wall and the collapse of communism has long been relegated to what I learned. . .
The short novel is a form in which writers typically exercise great control over their material, accepting the abbreviated length as a kind of challenge, working within that limitation to craft a tight, jewel-like story in which all the elements. . .
In the most recent translation of Swiss writer Robert Walser’s work, The Tanners, we are reminded once again why Kafka and Musil were fans—his wit. And like everything in Walser’s writing, it is nuanced and subtle. Instead giving us. . .
Rosa Chacel (1898-1994) sculptor, novelist, poet, essayist, feminist was born and died in Spain, with Brazil as a second home. She was a contemporary with the Generation of ’27, which included Garcia Lorca and Ramon Jaminez, and she was familiar. . .