One of the most successful and prolific horror writers of all time, Stephen King has sold over 350 million copies of his novels since the start of his career. King’s kingdom expands further than the territories of literature, however, with a new crop of cinematic adaptations gaining worldwide praise and success.
Rainbow colour-coded bookshelves, special edition hardbacks surrounded by fairy lights, atmospheric coffee shop scenes with a splayed open paperback on the table – this is what you can expect to see when scrolling through the 39 million posts under the ‘bookstagram’ hashtag on Instagram.
With the novel celebrating its 150th anniversary in 2018 and the release of its sixth film adaption in 2019, Little Women has seen a recent surge in popularity. To what extent do film adaptations ‘re-brand’ the original book
On the 21st January 2020, Alex Cristofi went from the peaceful quiet life of editor and author to being branded as a “book murderer”. Cristofi had, as his crime, cut three large books in half to make them easier to carry and read.
On 21st January 2020, the University of Liverpool’s Library tweeted an image with the caption: ‘This is not a bookmark.’ This firm declarative was in relation to a photograph of a piece of plastic wrapped sliced cheese which had been left in a library book.
In her poetry ‘scrapbook’, Useless Magic, Florence Welch – lead singer of beloved indie rock band Florence & the Machine – tells us she doesn’t know what makes a song a song or a poem a poem, that “they have started to bleed into each other”.
With the #MeToo movement bringing sexual violence to the forefront of public discussion, isn’t it time we consider the impact of the movement on literature?
There are many ways the World Wildlife Fund flagship Choices campaign video goes against the grain of advertising. For one thing, it isn’t trying to sell anything (in fact, it wants us to consume less). Everything about Choices invokes the theme of change.
Matthew Arnold famously said that “journalism is literature in a hurry” and in the highly competitive age of digital journalism, his words have never rung truer. In a bid to attract audience attention, writers are under more pressure than ever to produce diverse and far-reaching content.
In the era of Amazon, who can resist a text “recommended for you”? But with each *click*, metadata expands and a cycle of the same books fill our shelves. However, long before Kamila Shamsie’s female-forward challenge to publishers, Ann Morgan uncovered yet another void in our literary marketplace.