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Coates’ debut novel builds stories within stories, revisiting pre-Civil War America through the eyes of a survivor of the slave trade.
I met the screenwriter and novelist Henry Bromell, born on this date in 1947, through Tillie Olsen in 1973.
I read Bryan Washington’s debut short story collection as I helped my family pack up my childhood home in Miami. I had moved to New Orleans over eight years before—close enough to drive back down, but still three states and a world away.
Edward Fenton’s 1982 novel is perhaps one of the better fictional accounts of living at the privileged periphery of a political and then refugee crisis. Importantly, it is also a children’s novel.
As Naja Marie Aidt goes about the Herculean effort of wrestling with her son’s death, she utilizes a remarkable variety of forms; her grief is expressed not only through the substance of her words, but through the structure of her text.
Perry, in the legacy of James Baldwin, Ta-Nehisi Coates, and Kiese Laymon, employs the epistolary form to craft an intimate meditation on the fears, hopes, and responsibilities of raising two Black boys in America.
Recently published stories by George Saunders and Kate Walbert are about remembering more than they are about the past.
The midwife has often been an ambiguous figure both in the history of literature and within the history of labor.
Glittering with playful weirdness alongside mystical spirituality, Leonora Carrington’s “My Mother is a Cow” converges with the Christian tradition of divine incarnation and infuses it with queerness.
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