The author of The Third Hotel on existential noir, travel psychology, and what horror film theory can reveal about the human condition.
I get a part in a movie. I act every once in a while, small bits in small films whenever I know the producer or the director. This time it’s the director.
Jimmy, it’s your girl. The one at the desk whom you pay a living wage. This is what could be known as a wake-up call if we were the sort of people who relied upon others to remind us of our tasks.
Corruption, capitalism, and death in Puglia.
Noir, Balanchine, and an escape from the conventional novel.
This article is only available in print.
This First Proof contains an excerpt from The Color of Night, by Madison Smartt Bell.
Smith goosed the accelerator with his snake-skin espadrilles.
Regarded by many critics as Brazil’s foremost living author, Rubem Fonseca (b. 1925) has for more than four decades captured in his fiction the societal anxieties besetting inhabitants of his nation’s sprawling cityscapes.
This novel is based on events that occurred in the recent past in Cuba.
This First Proof contains an excerpt from Our Lady of the Assassins.
I see myself in the dark glass of a storefront window. The image is wavering, untrue. I slip a cigarette from my pocket with pinched fingers and stare at it for two or three minutes, perhaps longer.
Rosa strode down Swerve Street, dragging her nails along the wall. Sparks leapt and underscored a graffiti saying, ONLY THE EXPERT WILL REALISE YOUR EXAGGERATIONS ARE TRUE.
A tree that falls / on facts, on women, whatever is in the way.