My Young Life is a memoir of becoming…
Frederic Tuten’s collection of short fiction paints a world in motion. A sensitive crafting of characters and scenes reveals the adeptness of the writer of five novels.
Melissa Gould’s ongoing installation From Adler to Zylber uses iconographic artwork and the alphabet to organize a haunting pictorial catalogue of Jews sent to Auschwitz on Convoy No. 42.
This First Proof contains an excerpt from Incidents of Travel in Riversford.
Writing in The New York Observer on Boyd’s “remarkable, obsessive, delirious, devotional study, Nabokov’s Pale Fire,” Ron Rosenbaum called him ‘an ornament of the accidents and possibilities of Nabokov scholarship’.
Melissa Monroe’s extraordinary first book of poems captures not only the pleasures but the revelations of language.
I don’t have much to say about Henri Cole’s new collection of poems, The Visible Man, (Knopf) other than: find this book.
If The Yale Younger Poets Anthology did nothing more than return Joan Murray to print, it would be indispensable.
What do John Ashbery, Carolyn Forché, James Agee, Robert Hass, Margaret Walker, James Tate, Olga Broumas, John Hollander, Adrienne Rich, Richard Kenney, W. S. Merwin, David Wojahn, Muriel Rukeyser, Alan Dugan, and James Wright have in common with 77 other poets, good, bad, and outstanding?
James Sheehan’s first solo show is of large-doings scaled down to our size—then smaller.
The Stories (So Far) of Deborah Eisenberg collects her first two books; All Around Atlantis is new.
Writers Donald Antrim and Thomas Bolt trade keys to iconoclasm and metaphor in Antrim’s novel, The Hundred Brothers.
This First Proof contains Thomas Bolt’s selection of work by Alliance Poets Jeffrey Gustavson, Edwin Frank, and Andy McCord for this poetry portfolio.
I’ve stood on thinner sheets. Took crunching walks
James Merrill is one of America’s most distinguished poets. Critic Stephen Yenser has called Merrill’s epic poem The Changing Light at Sandover “a landmark in American literature.” Certainly it’s the only epic poem mostly dictated on a Ouija board to its two mediums, JM and DJ (Merrill and his co-adventurer David Jackson).
Christopher Brown pictures paint as a material and narrative vehicle. Thomas Bolt discusses this direct approach and its refreshing bluntness with the artist.