From four perspectives, Washburn’s new novel tells the story of a family slipping apart, colliding with the rest of the world, hoping for the fulfillment of their hopes and dreams.
Deb Olin Unferth’s latest foray into the socio-political, an action-adventure novel with touches of humor, is built around an anti-big-ag upheaval though rooted in the fragile relationships we cling to in a chaotic, inspiring, and often difficult world.
Poupeh Missaghi’s debut novel follows a protagonist obsessed with finding out why Tehran’s statues are disappearing. It’s an experimental hybrid work that combines a traditional novel narrative with quotes from theorists and writers, dossier-style notes on people who have been made to disappear after death, and poetry.
Yu is a master at mixing the artful, the humorous, and the meaningful atop new landscapes, and his new novel, the first to delve into conversations around race and ethnicity, is no exception.
The satirization of the all-inclusive resort, a symbol of international tourism, could only be accomplished in a meaningful way by a titan of Mexican letters like Juan Villoro. Not only does he have the qualifications, but he has a unique capacity to create absurdist characters.
Straight’s new memoir is part family history, part memoir, part love letter to her daughters, part US history, part reading list, and partly a discussion of the amorphous concept of the heroine’s journey. Like its author, the book is never one thing; it rests on opposite ends of various spectrums simultaneously.
Fragoulis roots her 2012 novel in the Greco-Turkish blues, including lyrics of well-known rebetiko songs that she has translated to transport the reader into the world of Kivelli—who, like many of her fellow refugees, pours herself into music to forget the trauma of losing everything she has known.
“It’s so important for survivors to choose when they come forward, and to have control over their stories. That’s why I wrote this book. Now, though, my story is a story for others. I’m giving up control, and that’s my decision.”
Etter joins a legacy of women writers who depict the horror of women’s experiences.
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