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Ogawa could have written a political thriller but opts instead for a closer look at communities under siege by the very political forces that should be protecting them.
Reading W.M. Akers’ debut novel is a magnificent experience, but it is uncomfortable, to say the least—the world it depicts, a 1921 version of Manhattan, is not so unfamiliar after all. As fantasy novels often do, the book offers a disturbing allegory for our times.
Gabino Iglesias’s recent novel revolves around multiple characters journeying through la frontera, the border between the United States/Mexico. In each of the characters’ stories, however, there are multiple journeys being made, multiple borders being crossed, and as their stories progress, what they’re striving for is less and less clear.
What is to be made of the myriad tales collected in this anthology, some of them connected by geographical proximity and nothing more? Part of the effect is to render the familiar unfamiliar.
Etter joins a legacy of women writers who depict the horror of women’s experiences.
Carmen Giménez Smith’s newest collection records the monolith, deconstructs it, and reassembles it as a world that looks a little more like one we can bear.
Italo Calvino’s work reminds us that curiosity itself is a kind of gravity, a pull that is difficult to understand or measure and yet is instinctively, unavoidably felt.
In 1976, I sat in a Dublin bookshop, taken hostage by Caithleen, her Dada who drank and hadn’t come home, and her poor Mama off on a fateful row in the lake. In the Country Girls trilogy, Edna O’Brien’s boisterous prose grabs and never lets go.
Today, it is crucial to return to Executive Order 9066, which directly resulted in the internment of Japanese Americans during World War II. Failing to understand the significance of how difference is articulated and weaponized will lead to a repetition of the same cruelties and mistakes of history.
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