Objects are characters in Ruth Ozeki’s latest novel. And as her masterful structure makes clear, we the readers, like the book’s protagonist, are hearing voices too: the Book has a mind of its own.
Told in lyrical, first-person fragments as lush, brutal, and self-contained as the island itself, Meghan Gilliss’ debut novel’s remote setting occasions an extended study of isolation—the isolating effects of early motherhood, of food scarcity and substance use, and finally, of secrets kept from one’s self and loved ones.
Andrea Barrett’s new book is a collection of echoes—names and references that have become familiar across the years to Barrett’s readers, filtering through her collections and novels. The effect is at once familiar and fresh, like being reminded of something half-forgotten and all the more treasured in the recollection.
In Elisa Gabbert’s new poetry collection, the opening and turning outward to the largest questions we can ask—time, the afterlife—remind us of all we do not know. In our shared ignorance, Gabbert stokes a sense of wonder.
In 1918 and 1919, an estimated fifty million people were killed by the Spanish Flu. Surprisingly, however, the memory of this global catastrophe seems to be largely absent in the cultural productions of the first half of the twentieth century.
Kikuko Tsumura’s most recent novel is a smart—and humorous—exploration into the emotional toll labor can have on individuals in a hyper-consumerist, capitalist system.
Jonathan Escoffery’s debut novel shows us how the people of Miami try to survive both the day-to-day obstacles and the hurricanes that threaten to destroy their houses, their jobs, their city, before they can even turn it into the home they want.
The activity of thinking, with its accidental sparkings and discursive connections, propels Pimone Triplett through the sonically dense occasional poems that make up her 2017 collection, in which she repurposes some of poetry’s perhaps more conservative elements—form and tradition—to radically reoriented ends.
Perhaps the greatest achievement of Jill Bialosky’s novel is its captivating depiction of mundane reality.
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