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I agree with Michael Orthofer, the interaction between super-agent Andrew Wylie and super-awesome Playboy editor Amy Grace Loyd over the first-serial rights to Nabokov’s The Original of Laura is a bit gross.
From the New York Observer:
It was an inspired method, the flowers serving as a reference to Nabokov’s 1969 novel Ada, or Ardor, which was excerpted in Playboy—thus a reminder for Mr. Wylie of the magazine’s long and treasured association with the author. “It was part of my pitch to Andrew that Nabokov really liked publishing with Playboy, and how devoted Hef is to Nabokov and his legacy,” Ms. Loyd said.
Mr. Wylie was initially unresponsive.
“I would get nice notes back from him, but he really wouldn’t give me anything,” said Ms. Loyd, who’d curated a special feature marking the 50th anniversary of Nabokov’s Lolita as part of her tryout for the job.
Of course, Wylie tried to place this with The New Yorker, which apparently wasn’t all that interested.
So, the super-agent (once referred to as “The Greediest Man at Frankfurt”) came crawling back on his knees with some insane demands.
There were a few sticking points in the negotiation, chiefly the fact that Mr. Wylie wanted Ms. Loyd to give an offer on the book without first reading a page of it.
Who does that? Oh, nevermind, don’t answer that. I’m just glad Amy got her piece . . . and hopefully a long, long shower.
Reviewed by Tiffany Nichols
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
Reviewed by Megan Berkobien
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
Reviewed by Peter Biello
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
Reviewed by Brandy Harrison
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
Reviewed by Tiffany Nichols
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .
Reviewed by Juan Carlos Postigo
You are not ashamed of what you do, but of what they see you do. Without realizing it, life can be an accumulation of secrets that permeates every last minute of our routine . . .
The narrative history of. . .
Reviewed by P. T. Smith
Literature in translation often comes with a certain pedigree. In this little corner of the world, with so few books making it into this comforting nook, it is often those of the highest quality that cross through, and attention is. . .
Reviewed by Paul Doyle
Alessandro Baricco’s Mr. Gwyn is a set of two loosely interlinked novellas that play with narrative and the construction of character. Ably translated by Ann Goldstein, Mr. Gwyn plays some subtle metafictional games as Baricco delves into what it means. . .
Reviewed by Will Eells
I must admit upfront that I went into reading Saadat Hasan Manto’s Bombay Stories almost entirely blind. I have not read Salman Rushdie. I have read, perhaps, two short stories by Jhumpa Lahiri. I might shamefully add that I really. . .
Reviewed by Christopher Iacono
Throughout his work The Gray Notebook, Josep Pla mentions many different authors, some of whom have inspired him to pick up a pen. One of them is Marcel Proust. Even though Pla normally prefers nonfiction, he lauds the French novelist. . .
- 12 November 14: 2014 ALTA Conference
Three Percent is supported in part by the New York State Council on the Arts.
