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The poet of Dan Chiasson’s poems is a father and a son, often both at the same time. The poet of Dan Chiasson’s poems, since his first collection was published in 2002, reveals more about himself, his being a father and a son, through the way his poems are made.
Hilma Wolitzer’s new story collection is brimming with life and humor, and yet death is ever-present, leading the book forward to its final, inevitable conclusion.
By remaining subtle at times and uninhibited at others, Yanick Lahens pens an essential family saga in the midst of Haiti’s politically turbulent mid-1900s, one that casts an eye to undiscussed brutality while simultaneously upholding a joyous celebration of culture, family, and female strength.
YZ Chin’s debut novel, which includes tales of past lives and accounts for the apparently radical transformations of both the narrator and her husband, suggests that our nature is neither fixed nor fathomable.
In writing lines that don’t connect, Olga Broumas and T Begley seem to want readers to focus on a poem’s space and movement rather than what its words actually mean. When we boil the experience of language down to these elements without the distraction of denotation, new possibilities open up for sensing language anew.
In the hyperbole of “apocalypse,” in the rhetorical design that anticipates a time predicted forever, a poem that meditates on the end of the world situates itself somewhere between prophecy and historical memory. An end has been ongoing—and changing—since the first mention of the end.
The portrayal of women’s bodies in Irish literature, and in wider society, has created an impossible contradiction. Irish author and critic Sinéad Gleeson’s debut essay collection, chronicling life in the human body as it experiences illness, love, grief, and motherhood, however, marks a contribution that will widen our understanding of Irish identity.
The protagonist of Lauren Groff’s new novel, Marie, watches her mother, grandmother, aunts, and queen exercise power before finally learning to wield it herself. Despite the book’s setting in medieval times, Marie’s plight feels similar to how women must take and assert power even now.
Susanna Clarke’s 2020 novel speaks both to the impossibility of truly reenchanting the world and the desperate desire to do so.
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