Mizumura Minae’s career has been focused on exploring this question in formally inventive ways that often incorporate her own cross-cultural autobiography. In the process, she has managed to transcend the specifics of her own personal story, creating a body of work with incisive things to say about the individual’s relationship to language, culture, and history.
The stories in Schwartz’s new collection offer us an invitation to the unknown in ourselves and in the world. Turn to the impossible, they tell us, and explore it. We cannot help but do so since, after all, the impossible is going to show up if we’re ready or not.
In Mirror Suite, Federico García Lorca explores questions of selfhood using the mirror as his guiding motif, asking how love manages to endure when other people’s interior lives seem so utterly inaccessible, and what it means for an imperfect person to be made in the image of God.
Mieko Kawakami’s 2008 novel addresses the multifaceted nature of what it means to move through the world as a woman, which means presenting womanhood in a variety of ways, ages, and life experiences.
As she got older, anytime someone was thinking of leaving town, my grandmother would implore them to stay, reciting the refrain that has now become a family catchphrase: “Don’t go no place,” she’d say. Family is the place. Nobody understands this interpretation of the utopian ideal better than immigrant communities.
It almost does not matter what someone does or what happens to them. Rather, what matters is what someone thinks they have experienced. As Popova suggests, the true changes in our lives are cognitive as much as they are biographical—or, rather, if they are biographically significant, it is only because they are cognitively so.
Scanlan’s new collection challenges literary norms, making a story do more than perhaps we previously thought possible.
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.
Winter 2003-04 - Digital
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Winter 2004-05 - Digital
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Fall 2004 - Digital
1 × $6.99 Subtotal: $20.97