New digs for the Paris Review and Gary Shteyngart's sexual absence

Book news.

Gary Shteyngart, who recently thrilled his Twitter followers (including our very own Martha Gill) by live tweeting Middlemarch, has announced that he is writing a memoir: Little Failure. The Russian-American author of Absurdistan (2006) and Super Sad True Love Story (2011) had this to say: “I’ve finally written a book that isn’t a ribald satire and because it’s actually based on my life, contains almost no sex whatsoever. I’ve lived this troubled life so others don’t have to. Learn from my failure, please.”

Julian Barnes, Hilary Mantel, Howard Jacobson and Margaret Atwood are among a number of authors who have annotated first editions of their best-known works, to be auctioned at Sotheby’s in aid of English PEN. Writing in the margin of Bridget Jones’s Diary, Helen Fielding wrote: “Am I supposed to be criticising the book saying how much better I’d so it now? Trouble is, I think I peaked.”

F Scott Fitzgerald was paid $2,000 for The Great Gatsby upon initial publication in 1925. He later made $16,666 in film rights. A ledger in which Fitzgerald recorded his publications, income and diary notes has been put online by the University of South Carolina. Elizabeth Sudduth, director of the Ernest F Hollings Library said: “We know he didn’t spell very well,” adding, “his arithmetic wasn’t much better.”

The non-fiction publisher Notting Hill Editions have announced a new £20,000 essay prize. The inaugural William Hazlitt Essay Prize winner will be announced on 26 September this year. Essays will be judged “on the originality of the idea, the quality of the prose and the ability to communicate to a wide audience” and will be judged by Harry Mount, Gaby Wood, Adam Mars-Jones, Lady Antonia Fraser and David Shields.

The Paris Review has moved to a new set of offices in New York’s art district. Editor Lorin Stein told the New York Observer: “ ‘We entertain a lot,’ ... referring to the journal’s famous office parties for writers and the writerly adjacent. The office needs to be part reading room, for the interns going through the slush pile, and part salon for the editors working late into the evening.” Salon indeed.

Paris Review editor Lorin Stein with Irena Alexander. Photograph: Getty Images.

Book talk from the New Statesman culture desk.

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Cabinet audit: what does the appointment of Karen Bradley as Culture Secretary mean for policy?

The political and policy-based implications of the new Secretary of State for Culture, Media and Sport.

The most politically charged of the culture minister's responsibilities is overseeing the BBC, and to anyone who works for - or simply loves - the national broadcaster, Karen Bradley has one big point in her favour. She is not John Whittingdale. Her predecessor as culture secretary was notorious for his belief that the BBC was a wasteful, over-mighty organisation which needed to be curbed. And he would have had ample opportunity to do this: the BBC's Charter is due for renewal next year, and the licence fee is only fixed until 2017. 

In her previous job at the Home Office, Karen Bradley gained a reputation as a calm, low-key minister. It now seems likely that the charter renewal will be accomplished with fewer frothing editorials about "BBC bias" and more attention to the challenges facing the organisation as viewing patterns fragment and increasing numbers of viewers move online.

Of the rest of the job, the tourism part just got easier: with the pound so weak, it will be easier to attract visitors to Britain from abroad. And as for press regulation, there is no word strong enough to describe how long the grass is into which it has been kicked.

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.