Joy Division was one of the many bands that I like to think of as the late-1970s, early-’80s post-punk version of Goodreads: You had Josef K also taking from Kafka to name the band, Camus getting a nod from The Fall and The Cure’s “Killing an Arab,” Television Personalities had a song titled “The Picture of Dorian Grey,” and Gang of Four should have credited Marx and Engels as co-songwriters. Robert Forster and Grant McLennan thought L. P. Hartley’s 1953 novel The Go-Between sounded like a good name for their band. And, of course, you had Morrissey dropping literary reference after literary reference in Smiths songs. All of these groups, whether they truly cared about these books or not, were basically suggesting these writers to their fans. But Curtis, more than almost anybody, saw a title, applied it to his own work, and it fit so perfectly that every uninformed fan of his band would feel obligated to read the book if they came across it — something you hardly see happening these days, save for Beyoncé sampling Chimamanda Ngozi Adichie. Of course, she’s a much bigger artist than Joy Division ever were, but they’re both proof that the effect some musicians can have on our reading lives can be monumental.