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Like Weike Wang’s vision of fiction, in grief Joan discovers that inscrutability can be possibility itself.
In Elif Batuman’s new novel, Selin is trying to figure out how to narrate love, how to make it make narrative sense; on the way, she figures out what love and novels have to do with each other.
Niyi Osundare’s newest collection of poetry lets the earth speak. He shows us how the planet is ailing via the direct address and the personification of the environment, forcing us to consider how we might help protect Earth from those who are killing it.
“Now in my second pregnancy, I am turning to fiction, in particular a spate of recently published novels that portray the challenges of the postpartum period and early motherhood, to make sense of my attempts to hold together the identities of writer and mother.”
Perhaps what is most striking about Hisaye Yamamoto’s stories is how easily they could be written by a Japanese American author today, though many of them were written over fifty years ago, so focused are they on issues of race and the gendered expectations of women that still exist.
Maria Dahvana Headley’s 2020 Beowulf translation works to center the lives and voices of women—a move that dramatically changes its handling of violence and trauma.
Putsata Reang’s new memoir delves into the realization that many of her greatest struggles are rooted in the past, under the weight of inherited trauma and filial duty. Even so, Reang unshackles herself from family history and forges an identity of her own.
Atticus Lish’s 2014 novel is a book with many stories piled up inside it, its personalities, with their long and painful histories, bumping and crashing into each other in the present. It is a love story that rarely uses the word love.
Do photographs of war provide some intervention into the violence they depict? If they do not stop violence, what purpose do they serve? These two questions are at the heart of recent work by Teju Cole and older work by Susan Sontag.
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