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Kathleen Graber’s newest collection asks how much her speaker is to blame for what she sees as troubling in American culture, and how identity might be formed in the crucible of condemnation.
Genet operated in social structures in order to subvert them, to explore and craft beauty from the darkest corners of modern civilization. While most artists can only imagine a prison sentence, prostitution, ecstasy, or evil, Genet lived through these experiences and, in some cases, sought them out.
As we move toward an inevitable-seeming apocalypse, Rachael Nevins turns to three of Gibson’s novels, hoping to assuage her fear and sort through her disorientation.
Ken Liu’s 2011 collection includes a wide array of stories, ranging in style from speculative to science fiction to magical realism; it’s also a prime example of a work that shifts focus away from genre tropes and allows the reader to see what these stories look like through a different cultural lens.
In his new memoir, Marcelo Hernandez Castillo writes his family’s story into the history books of immigration.
Through etymological conversion, our minds have come to separate “flesh” from “meat,” sublimating the violent methods necessary to render bodies into food and making us believe we know with certainty what separates our own bodies from the bodies that we destine to be eaten.
Greenwell’s novel feels at once perilously modern and coolly baroque; a Sebaldian melancholy wafts up like a fog through the spaces in his lovingly turned sentences.
In his 1961 novella, Kawabata takes the idea of the male gaze and makes it concrete, a laboratory in which to test our preconceptions about masculinity and male privilege.
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.
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