Lit Hub Daily: November 30, 2022

TODAY: In 1997, Kathy Acker dies. 

• Read a 1990 pre-show interview with Kurt Cobain: “Nobody wants to hear a preacher. If you play guitar, you’re supposed to have fun.” | Lit Hub Music

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• Mary Gordon considers the “insufficiently treasured” short fiction of Jean Stafford. | Lit Hub Criticism

• The 11 best book covers of November are just peachy. (Yes, this is a butt joke.) | Lit Hub Design

• “At heart, he’s giving us not just the world but all that cannot be shown and can never be seen.” Pico Iyer on the timeless images of Norwegian photographer Tom Sandberg. | Lit Hub Photography

• How Iain MacGregor followed the curveballs of research to find the untold stories of Stalingrad’s citizens. | Lit Hub History

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• Netflix’s Lady Chatterley’s Lover gets the gloss treatment (and a woman’s perspective). | Lit Hub Film & TV

• Bob Dylan’s The Philosophy of Modern Song, Bono’s Surrender, and Claire Keegan’s Foster all feature among the Best Reviewed Books of the Month. | Book Marks

• “Is Cormac McCarthy our most minor major novelist or is he our most major minor novelist?” Justin Taylor considers The Passenger and Stella Maris. | Bookforum

• How indie bookstores in Texas are surviving—and in some cases, thriving. | Texas Observer

• “If you want a reader to follow you to the darkest places, you have to make them laugh too.” Morgan Talty talks to Nicole Chung about his collection Night of the Living Rez. | The Atlantic

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• These are the ten best books of the year, according to the staff of The New York Times Book Review. | The New York Times

• Rapid-fire book recs from Sofia Coppola. | ELLE

• “I followed Proust in imagining food as a portal, an invitation.” Hannah Walhout takes a culinary excursion through In Search of Lost Time. | Electric Lit

• Everything Everywhere All at Once co-director Daniel Kwan discusses his new children’s books. | Vanity Fair

Also on Lit Hub: On the similarities between writing and… turning into a werewolf • Two poems by Elisa Díaz Castelo • Read a story from Clark Blaise’s latest collection, This Time, That Place

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