Katie Rogin’s debut novel, Life During Wartime, presents the struggle that soldiers, and their families, face adjusting back to civilian life. The story begins when 21-year-old Nina Wicklow, home from duty in Iraq, goes missing in a small town outside of Los Angeles.chop! chop! read more!
A new novel, Mina, written by Kim Sagwa and translated from Korean by Bruce and Ju-Chan Fulton, attempts to chronical adolescences, a transformative time of life, but in the context of a world that does not condone individuality, experimentation, or choice. Through unconventional characters, a high-pressure setting, and an unapologetic directness that is both off-putting and enthralling, Sagwa creates an entirely different kind of teenage drama. By placing three emotional, confused young people in a world of restraint and hidden suffering, she ignites an explosion of a story that is entirely new. It does not have the charming humor of John Green or the contrariety of J.D. Salinger. Instead, it is an immensely serious and angry portrayal of a teenage breakdown.chop! chop! read more!
There is a plant “whose sap produces […] microscopic animal larvae” that can consume rats “from the inside out.” It can only be found on “Thompson Island, a small landmass in Tierra Del Fuego,” within Argentinian screenwriter Roque Larraquy’s debut novel Comemadre—the name of this plant of spontaneous generation. Translated in the novel as “motherseeker or mothersicken,” this fictitious plant and its larvae symbolize the dual powers of violence to create and destroy. First as crime, then as art.chop! chop! read more!
Amy Saul-Zerby’s new collection, Deep Camouflage is the manifestation of heartbreak. It is the fables that spawn from moments of empathy and melancholy. It is the conversation that a poet has with their reader. More than most poetry collections, Saul-Zerby’s is a sequence that asks to be read all at once.chop! chop! read more!
Maya Aziz sees her world through a camera lens. “One thing I’ve learned,” she says, “People love a camera, and when I’m filming, they see it, not me, so whenever I need to, I can disappear behind my trusty shield.” She is often the observer, experiencing her life on the outside looking in. As the novel opens, Maya is at a crossroads: she has been accepted to NYU’s prestigious filmmaking program, but her traditional Indian Muslim parents want her to go to school in Chicago, within reach of their influence and protection.chop! chop! read more!
Four children play together in a quiet neighborhood. The children are Henriette Held, the young daughter of a Jewish dentist; the Elekes sisters, Irén and Blanka; and Bálint Temes, the handsome son of the Major. Their game is Cherry Tree, in which they all sing and spin in circles, and one of the children “chooses” another, the one they love. In this innocent game, the girls invariably choose Bálint, and each girl develops her own particular feelings for the boy; when it is his turn to choose, though, Bálint always prefers Irén, the oldest and most serious of the three. This is one of the earliest memories shared by the Elekes, Temes, and Held families, who form a lifelong, tragic bond in Magda Szabó’s Katalin Street.chop! chop! read more!
With quiet skill and rich description, Rupert Thomson strings the lives of two eclectic lovers through the tumultuous history of Paris and the Channel Islands during and between the two World Wars.chop! chop! read more!
Whereas his previous book references artists, movements, historical figures, and myths, Jampole has made the bold choice here to work from two overarching cultural touchstones. Rather than searching for the vocabulary it shares with the reader, Cubist States of Mind/Not the Cruelest Month undertakes the creation of a new such vocabulary altogether. The result is two series of poems that sit on the edge between the particular and the universal, the everyday and the extraordinary, the true and the beautiful.chop! chop! read more!
The poems in Sarah Marcus’ book, They Were Bears follow a young woman, the speaker of most of the poems, who pursues discovery and sensation in the remote corners of the American wilderness. The narrative shapes this wilderness into a wide-open expanse characterized by uncertainty, wonder, and menace. The backdrop also shifts from unpeopled natural settings to the speaker’s agricultural childhood home and to the industrial sprawl of Cleveland. The book’s three untitled segments each alternate between lyric poems and prose poems, and all use bears and other animals as central to their imagery and symbolism. Poems in the book discuss a variety of themes, including family, sexuality, and womanhood. The primary foci of the work as a whole, however, seem to be overcoming trauma and embracing nature. Together, the poems tell the story of a woman defined by her passion and resilience in the face of a harrowing past.chop! chop! read more!
With a title and subtitle like Gaslight: Lantern Slides from the Nineteenth Century, the reader will be forgiven for thinking Joachim Kalka’s book is a collection of visual art. It is not. Though it does contain a handful of visual descriptions, it bears not one illustration, woodcut, or photograph. No lantern slides, and no visual depictions of gaslight. What it has instead are words, many of them, artfully arranged. Kalka’s words, assembled into eleven essays and a preface, are densely packed and remarkably pointed. Although his purpose is to glance back at the nineteenth century, not to historicize it, or even to theorize about it with a particular agenda, Kalka is a highly organized thinker. His insights prove scintillating, if specialized.chop! chop! read more!
Karen Donovan’s Aardvark to Axolotl and John Shea’s Tales from Webster engage with this paradox via the dictionary, that great alphabetizer of language. The dictionary is the reference-book-of-all-reference-books. It is writing broken down to its most basic components, as a color wheel separates out the most basic tools of the painter. It also makes for dry reading. As far as plots go, it’s lackluster.chop! chop! read more!
Acclaimed writer David Plante’s book, published originally in 1983, is an account of his friendships with three women central to the artistic and intellectual world of the 1970s. It is a rare act of memoir writing to describe oneself as the shadowy sidekick to other, presumably greater and more interesting characters. In nonfiction writing classes, this point of view would be discouraged.chop! chop! read more!
Ivory Pearl is Jean-Patrick Manchette’s final and unfinished novel, now available in an English translation by Donald Nicholson-Smith. Manchette was known during his lifetime for his 1970s crime novels, noir that gained popular movie adaptations and made him a standard among French crime writers. This translation features endnotes on how Manchette envisioned the novel ending, and an introduction written by Manchette’s son, Doug Headline, which is as affectionate as it is informative.chop! chop! read more!
Divided into four sections, Deborah Burnham’s poetry collection Tart Honey seems cut into citrus slices— edible, organic, and aware of some lost and bodily whole it re-composes in the formation of its parts. The poems feature modern relationships with too much absence, a dissolving picture of Apollo 13 soon taken over by a persona attempting to collect her body into experiencing her partner, and paintings with colors that spill into cells, among other simultaneously harmonizing and divisive images.chop! chop! read more!
The Juniper Tree is a mid-twentieth-century retelling of a Brothers Grimm fairy tale of the same name, though Barbara Comyns has made the story all her own. Originally published in 1985, The Juniper Tree tells the story of Bella Winter, the unwed mother of a biracial daughter, through her quest to live life on her own terms in a world where she is patently disapproved of for being who she is.chop! chop! read more!
In his introductory comments for The Kremlin Ball, Curzio Malaparte claims that his novel is “a faithful portrait of the USSR’s Marxist nobility.” Such a thing should be anachronistic: a Marxist nobility? A communist high society?
But that is exactly what Malaparte, as the novel’s narrator, is describing.chop! chop! read more!
Headlands Quadrats and It’s No Good Everything’s Bad speak to anyone who appreciates poetry, and lovingly handcrafted poetry chapbooks. Both works strike a delicate balance between lyric and narrative modes—the former leaning further into lyric and the latter into prose narrative. Headlands Quadrats will be especially notable to those with an abiding interest in ecopoetics, and It’s No Good Everything’s Bad to those drawn to feminist poetics, Marxism, and humor.chop! chop! read more!
The work of literary translators can be viewed as vital, especially given the forces of nationalism today, so it is no small matter that someone of Lahiri’s caliber has joined the ranks. For Starnone and his readers, it means his novel Trick arrives in English in mesmerizing form.chop! chop! read more!
Playing Catch with Strangers consists of a long series of short essays. Most were written for print or online publications and not originally intended as book chapters. They are clean, straightforward, and easy to read. They are also salutary—in the sense of promoting better mental health and positive emotions. Brody reminds us of the many gifts that life offers to those who pay it close attention.chop! chop! read more!
The Radical Element: 12 Stories of Daredevils, Debutantes, and Other Dauntless Girls is an anthology of feminist fiction, celebrating what editor Jessica Spotswood calls in her introduction the “quiet badassery” of young heroines taking charge of their own identities. This collection is a follow-up to A Tyranny of Petticoats: 15 Stories of Belles, Bank Robbers, and other Badass Girls, also edited by Jessica Spotswood. Similar to the first volume, the pieces in The Radical Element span a wide range of historical time periods and geographic locations, from 1838 Georgia to 20th century Boston. A brief author’s note follows each story, with additional information on the historical context or the inspiration behind the work.chop! chop! read more!
The title character of Igiaba Scego’s novel Adua is a Somali woman caught in history’s crosshairs. Born to an ambitious, mercurial man, a translator who sold his skills to the Italians during Mussolini’s pre-WWII push to expand his African empire, Adua’s life is shaped by choices she didn’t make and subject to forces she can’t control.chop! chop! read more!
The jacket of J.R. Helton’s memoir, Bad Jobs and Poor Decisions: Dispatches from the Working Class, shows an assortment of loose black-and-white sketches: a marijuana leaf, a packet of cigarettes, a typewriter, crumpled beer cans, lines of (presumably) cocaine, a gun, a cockroach. Among them, figures emerge: A man’s face covered in huge beads of sweat, a woman with long dark hair shown from the shoulders up, a pole dancer. These images appear regularly in each of the seven long anecdotes that make up Bad Jobs, working as signifiers of a place, time, and social class. The place is Austin, Texas and the time is when the tail end of the 1970s met the Reagan 1980s.chop! chop! read more!
For a novel about witches, magic, and family curses, Leslye Walton’s The Price Guide to the Occult has a lot to say about humanity. More than a century ago, a witch named Rona Blackburn landed on Anathema Island, where she was met with fear and vexation from the island’s founding families. Determined to rid their island of her “as the tide erases footprints in the sand,” they burned her home down. So she, naturally, cursed their entire bloodlineschop! chop! read more!
Who we are is a complicated thing. Interactions influence perceptions, and perceptions influence memories. Having lost her father in a tragic accident when she was only seven, author Sharon Harrigan attempts to unravel the mystery of the man her father was in the powerful new memoir Playing with Dynamite. “I was relieved when he died,” her brother wrote her in an email. “It’s terrible to say, but it’s true.”chop! chop! read more!
What an odd book Tomb Song is. It contains prose both beautiful and profane, extensive self-awareness and a troubling level of self-ignorance. Its author and its narrator blur together into an entity that is never quite one or the other, and it doesn’t distinguish between fiction and nonfiction with especial meticulousness. That is, the narrator and the author have the same name, the same wife and child, the same job, and the same literary accomplishments. It remains undefined whether, in what passages, and to what extent Herbert has fictionalized his life to write this book, which a reviewer in a Chilean newspaper called “an elegy to his mother.”chop! chop! read more!
Dominique, or Dom, seems to have nothing. She lives in Trenton, New Jersey with her single mother and helps run their Laundromat. When Dom and her best friend Cass embark on a field trip to New York City to see the students of the Brighton Conservatory perform at Carnegie Hall, Dom sees Ben for the first time.chop! chop! read more!
Henry Green is the pen name of English writer Henry Vincent Yorke, a well-educated man from a wealthy business family who wrote novels from 1926 to 1952, when Doting, his last work, was published. His works are considered important contributions to modernist literature, and he was well-respected by several authors at his time, including W. H. Auden and Anthony Burgess.chop! chop! read more!
This collection showcases a number of wonderfully imaginative stories whose fanciful imagery remains in the reader’s mind long after he’s finished reading. Di Benedetto’s concise, intelligent stories are surely still a source of complicit delight. Anyone who reads Zama and is hungry for more of Di Benedetto’s work will enjoy pecking at the writer’s brain in Nest in the Bones.chop! chop! read more!
Any book that has a ringing endorsement on its cover from Elena Ferrante these days will merit a second look. But there is another, potentially more important endorsement of Neapolitan Chronicles—a silent endorsement on the part of the translators of this Italian story collection by Anna Maria Ortese, originally published in Italy in 1953.chop! chop! read more!
The classic coming-of-age novel tells the story of a young boy coming to terms with the man he is about to become. Over 175 years ago, the great French literary seer Honoré de Balzac composed a rather untraditional version: in his novel, The Memoirs of Two Young Wives, Balzac applies the traditional arc of the bildungsroman to two female protagonists in order to present two ways of life—the passionate life and the tranquil life. In doing so, Balzac reminds readers of the elusive nature of happiness, regardless of one’s way of life, and what it means to love and be loved.chop! chop! read more!
Anna Lea Jancewicz built up her editorial chops on magical flash fiction and fairytale non-fiction journals, like Cease, Cows and Tiny Donkey, before becoming Editor-in-Chief of Rabble Lit, a magazine dedicated to working-class literature. Some might consider this a strange artistic road, but it makes sense. Using the magic in the everyday to challenge and undermine the power of oppressors, magical realism emerges from anti-colonialism and protest. Similarly, the classic fairytale often elevates working-class heroines like Cindergirl and Vasilisa. Jancewicz’s debut collection builds on these traditions of artistic protest, offering a mix of flash and short stories steeped in both the brutal realities and dreamy magic of women’s lives. The combination of flash and short stories serves to create a heady ebb and flow throughout the collection, almost like a heartbeat ba-boom, ba-boom, a place where prayers, stories, and spells live side-by-side.chop! chop! read more!
Sometimes we read fiction to escape, to experience the art of writing, or to lose ourselves in plot. Non-fiction is often imagined the territory of learning, absorbing direct information on a topic. We often forget that fiction still has this power, to take you somewhere real you’ve never been, to introduce you to people you might not have otherwise met. Fiction can convey social realities and erode the “otherness” of others. Sometimes even when we set out to read to escape, to read for fun, we are confronted with truths about our world. But of course, true art about the human experience never eludes the social and the political.chop! chop! read more!
When will we stop imaging climate change in the future and how can we reorient ourselves to this reality? Adrian Parr’s new academic work on climate change, Birth of a New Earth, attempts to answer this question by tapping into the recent trend of considering the positive, some might even say utopian, possibilities that the crisis of climate change allows. She argues, “Regardless of environmental harms and changes in climate impacting people differently, there remains a shared human experience of hardship that will intensify as time passes. For this reason, the environmental and climate crises contain the political potential to radically change social life so it evolves into a more equitable, inclusive, collaborative, and voluntary social system.”chop! chop! read more!
Time of Gratitude is an unusual text: the collected pieces are both prose and poetry, some of them written for events and some written as personal reflection. Translator Peter France has organized the book into two sections. The first one is devoted to Russian and Chuvash writers and artists, including Boris Pasternak, Kazimir Malevich, Varlam Shalamov, and Chuvash poet Mikhail Sespel.chop! chop! read more!
For Mireille Gansel, the work of translation is an all-consuming task. Before embarking on a project, Gansel first immerses herself in the world of the poet she is translating. She studies the historical context of their writing as well as the personal context. Wherever possible, she engages with their physical environment: she visits their home, observes their writing space. And, ideally, she listens to the poet read their work aloud. Attempting to translate a single German word, “sensible,” in a poem by Reiner Kunze, Gansel travels from West to East Germany to “[listen] to the poet read, alert to his intonations and facial expressions. In the tiny blue kitchen, I was conscious of his precarious everyday life.” She imagines the letters from friends in exile that he’ll never receive, and the mingling of his two languages, a German abstracted by Nazism and a Czech repressed by war, both of which survive in the poetry of his contemporaries, in songs from his childhood. Here, in this intersection of past and present, Gansel finds the word for “sensible”: fragile.chop! chop! read more!
Do Roy and Celestial have an ordinary American marriage? The title of Tayari Jones’ fourth novel implies that perhaps they do in fact have a quintessential American life, and in many ways they do…chop! chop! read more!
Above all else, Mirror, Shoulder, Signal is a novelist’s novel. Literary-minded readers will revel in the novel’s allegorical framework extending anywhere from cautionary tale to failed bildungsroman to a metaphor of novel reading itself.chop! chop! read more!
Situated between a national and a personal history, Kiki Petrosino’s poetry book Black Genealogy sifts through the past in search of lost identity, language, bodies, and self-possession amidst the legacy of the Civil War and slavery in America. The book details an exploration of both a familial and a larger American reality through the lens of a contemporary African American persona.chop! chop! read more!
For those of us still traumatized by the 2016 Presidential election, the debut novel Her Body and Other Parties, by Carmen Maria Machado, is the emotional and intellectual release for which we have been waiting. It is electric with the #Resist spirit. It underscores the importance of the #MeToo movement. And, it tackles issues such as gender, language, and human interaction through a fresh, folkloric perspective. Winner of the Bard Fiction Prize and finalist for the National Book Award for Fiction, the Kirkus Prize, and the National Book Critics Circle’s John Leonard Prize, this collection of ten short stories is timeless, yet also a necessary way to transition from 2017 to 2018.chop! chop! read more!
When Hans Herbert Grimm’s semi-autobiographical novel Schlump was published in 1928 alongside All Quiet on the Western Front, it was advertised as a “truthful depiction” of World War I. It is no surprise that Grimm took on the the pseudonym Schlump, just as his protagonist does, to hide his identity. As explained by Volker Weidermann in the afterward, Grimm “describe[s] the German soldiers of the Great War as less than heroic,” and “the entire war as a cruel, bad joke.” While this caused the Nazis to burn his book in 1933, today it gives the text, translated by Jamie Bulloch, a feeling of authenticity.chop! chop! read more!
The poetry of Light into Bodies begins and ends with a theme of identity while its pages flutter with the imagery of egrets, pigeons, swans, and starlings. Nancy Chen Long presents the complexity of exploring identity from multiple perspectives—from the viewpoint of a mathematician, from a child whose mother repeatedly becomes the property of other men by the “generosity” of her own father, to a daughter’s experiences growing up in a multi-cultural home and discovering the nuances of relationships in adulthood. The poems stitch together an intricate lace of childhood memories, family stories, myth, and Asian-American experience with a thread of women’s issues intertwined throughout, each conflict woven within the next to create the speaker’s complicated identity.chop! chop! read more!
Reading Harding’s new book Collusion: Secret Meetings, Dirty Money, and How Russia Helped Donald Trump Win, published in mid-November by Vintage Books, gives the sense that we are living in a John Le Carre novel where we are not certain that the West won the Cold War or that the Cold War ever ended. Collusion is a deep dive into the coverage of the administration and the crisscrossing lines of Russian money and influence.chop! chop! read more!
Completely mundane happenings take on significant meaning in Chloe N. Clark’s The Science of Unvanishing Objects. Everyday things like butterflies, telephones, and mirrors assume a role beyond their normal functions. Likewise, ordinary events such as conversations between strangers and seeing a lover naked for the first time become catalysts for a deeper understanding of the universe. Through her explorations, Clark repeatedly returns to loss, a major motif in this collection, which is amplified by recurring narratives centered on missing women.chop! chop! read more!
“She wanted […] the location of her madness to be now the location of her art.”
This is how the narrator of The Working Woman analyzes her roommate, but the same can be said of the narrator herself, and perhaps as well of the only figure in this postmodernist novel who actually “speaks:” the author, Elvira Navarro. The text becomes the conjunction of madness and art, which share one abstract and yet delineated “location,” madness needing expression through art, or art uniquely poised to express madness.chop! chop! read more!
Tatiana is supposed to spend the summer before her junior year in high school in Vermont with her only friend while her mother summers in Rome. Instead, she hitches a ride from her boarding school’s Connecticut campus to Brooklyn. It’s 1980, and Tatiana renames herself Pluta, an alter ego she has long cultivated to meet the demands of this adventure. So begins Anca L. Szilágyi’s debut novel Daughters of the Air.chop! chop! read more!
Anyone who picks up And Other Stories’ edition of Malacqua, the first English translation of Nicola Pugliese’s Italian novel from 1977, will be immediately alerted to the strange weather which serves as the novel’s catalyst. Emblazoned across the book’s cover is Malacqua’s unofficial subtitle: Four Days of Rain in the City of Naples, Waiting for the Occurrence of an Extraordinary Event. Before even opening the book, the reader is clued into Pugliese’s supreme fascinations: water and Naples. And of course, the collision of the two.chop! chop! read more!
Iosi Havilio’s Petite Fleur is a great book because it is a work of surprises intimately knotted around each other. The plot twists and writhes. Murders and magic lead to diatribes about jazz fusion that leads to rebirth and love and examinations of the anxiety of parenthood and marriage. The unexpected is constant, the satisfaction complete.chop! chop! read more!
In the small town of Clemency, Texas Sunday morning worship is even more important than Friday night football. With a population of 1,236 and only two churches in town, everyone looks forward to putting on their Sunday best and lifting the Lord’s name on high.chop! chop! read more!
Reading Andrea Jarrell’s memoir felt like I was squatting in the bushes outside of her house, fingers perched on the windowsill, watching and listening as her life unfolded, taking comfort in her family’s dysfunctions which mirrored my own in asymmetric ways. Being from a dysfunctional family myself, I take some sick comfort from seeing crying children in grocery stores, their mothers looking like they’ve reached their wits’ end. I thrive on overhearing family fights in restaurants, because for so long, it was my family who were making heads turn. Once, at a rest stop in Delaware, my younger brother pelted my mother and I with chicken nuggets from the booth across the aisle while my father yelled at him, and ultimately, dragged him from the McDonald’s. I suspect most of our families are dysfunctional, and it’s the job of our adult selves to use all of that dysfunctional material we’re sitting on to become something good. That, or we allow the cycle to repeat. But how does one heal from childhood? How does one become better than our parents? These are central questions in Andrea Jarrell’s haunting memoir I’m the One Who Got Away.chop! chop! read more!
THE MINORS by Chris Ludovici Unsolicited Press, 376 pages reviewed by Ryan K. Strader Hitting a baseball is the hardest thing to do in professional sports. A fastball travels at 90 miles per hour, moving from the pitcher’s mitt to the catcher’s glove in approximately .44 seconds. If the batter blinks, he’ll miss. For the last few feet that the ball travels, it is essentially invisible to the hitter. He has to have made his decision by then, whether to swing, how he’ll swing. I did not know anything about baseball when I picked up Chris Ludovici’s The Minors. Nick Rogers, one of the protagonists, reflects on the difficulty of hitting a baseball, and I ended up spending too much time engrossed in an ESPN Sport Science episode checking Nick’s information. It turns out that, football fanatic though I am, the fastball is a formidable opponent: 90 mph is a … chop! chop! read more!