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The essays in Fernández’s collection weave from the personal to the profound, from the historical to the mystical, from the scientific to the spiritual. The book has one fundamental message: to hold the past is what makes us human.
The characters of Lara Williams’ and Margaret Atwood’s novels learn, eventually, to treat their love of food as a gift.
Haunted houses are liminal spaces by design, the boundary between life and afterlife blurred and the line between truth and imagination called into question within. But the most effective haunted houses in literature blur even more lines—between past and present, and memory and reality.
Perhaps the greatest achievement of Jill Bialosky’s novel is its captivating depiction of mundane reality.
Elaine Hsieh Chou’s debut is not only an outrageously enjoyable academic mystery, but also a moving portrayal of self-discovery.
In Kyle Lucia Wu’s debut novel, care looks like many things . . . it’s in this subtle lesson that Wu’s quiet, understated prose builds to a deeply moving coming-of-age novel.
Hermione Hoby’s new novel beautifully explores the temptation to define yourself by other people’s expectations, and the risks of losing yourself in relationships where you don’t belong.
Cusk’s new novel is worth reading for its sharp descriptions and powerful story alone, but it’s the in-depth exploration of the purpose of art that makes the story meaningful.
Atleework’s memoir is steeped in her passion for California’s Owens Valley and her striking observations. It reveals a life defined by an absence, and Atleework points us to the power in this understanding.
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