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Chris McCormick’s debut novel represents American identity—full of choice and individualism, though not in as positive a manner as we would like to believe.
The emotional power of Chang’s new collection comes from the grace and honesty with which she turns this familiar form inside out to show us the private side of family, the knotting together of generations, the bewilderment of grief.
Lara Prescott’s thrilling debut novel focuses on the CIA’s efforts to smuggle and distribute Boris Pasternak’s legendary novel. But it takes a subversive approach, telling the story from the perspective of the unsung women, at both the CIA and in Soviet Russia, who made Pasternak’s legend possible.
Sei Shonagon’s book, completed in the year 1002, interrogates power and powerlessness through the use of formal hybridity, offering itself up as an unexpected progenitor of our current literary scene.
In taking on the Rainbow Murders in her new memoir, Emma Copley Eisenberg also takes responsibility for presenting a clearer picture of Appalachia—a balance that is particularly difficult to achieve when discussing the killing of two young women.
Zhang’s novel is a treasure-trove of questions that devastate even as they beckon readers on.
Jonathan Fine’s recently published personal essay asks how one separates one’s own work from all that precedes it. How does one escape the anxiety of influence when influence is literally all around?
In contemporary literature, Mary Gaitskill stands out for her unapologetically sexual and taboo themes. Her work is easily characterized as gritty and explicit; it also, however, offers nuance and heart while considering questions of how people pursue pleasure and at what cost.
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.
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