Emily Eakin has worked as a senior editor at The New Yorker and as a culture reporter at The New York Times.
Jacques Derrida claimed astonishment at the way his elusive and poetic glosses on Heidegger and Husserl were refashioned into a blunt, all-purpose tool—a kind of lethal deep-reading app—wielded by Americans determined to wage war on a canon they hadn’t always bothered to read.
Cloud Atlas, the unlikely new adaptation by Lana and Andy Wachowski and Tom Tykwer of David Mitchell’s ingenious novel, should do well on DVD, a format whose capacity for endless replay will enable viewers to study at leisure the myriad concurrences binding the movie’s half dozen plots. Better yet, the directors should hire their friend the philosopher Ken Wilber to provide expert commentary. A sixty-three-year-old autodidact, Wilber is the author of an ambitious effort to reconcile empirical knowledge and mystical experience in an “Integral Theory” of existence. It’s easy to see how Mitchell’s novel, with its nested construction, mysterious connections, and perpetually recurring birthmark, could give off a Wilberite allure.
By late May, more than ten million copies of E.L. James’s Fifty Shades trilogy, an erotic romance series about the sexual exploits of a domineering billionaire and an inexperienced coed, had been sold in the United States, all within six weeks of the books’ publication here. This apparently unprecedented achievement occurred without the benefit of a publicity campaign, formal reviews, or Oprah’s blessing, owing to a reputation established, as one industry analyst put it, “totally through word of mouth.” In fact, Leonard’s bestseller originated as fan fiction, an online genre that is inherently collaborative and by convention resolutely anti-commercial.