Finally back in the fold of Hollywood—one imagines him advancing mistrustfully, mistrustfully looking up at the high and useless palm trees (an immoderation which serves no purpose: the palm trees “planted on both sides of the expressway in order to purge an already pure sky”).
The writer of The Job of the Wasp on horror, human evil, and writing long sentences.
Featuring selections by Justin Taylor, Shelly Oria, Mary Walling Blackburn, Kevin Killian, Barry Schwabsky, John Freeman, and more.
The imagined city from Gladman’s Ravicka series is as elusive as human self-hood.
The novelists on Vietnam, Norman Mailer, and the dragon’s perspective.
Congratulations to Ward on winning the 2017 National Book Award for Sing, Unburied, Sing.
A rediscovered novel and memoir depict a character we are lucky to have on the page. In life he would mortify us.
“To credibly present ecstasy, pure ecstasy, is incredibly difficult. Once upon a time this wasn’t the case. This is what capitalism has done to us all—rendered earnestness—a thing of suspicion and contempt.”
Corruption, capitalism, and death in Puglia.
Noir, Balanchine, and an escape from the conventional novel.
A globe-hopping novel ruminates on drift and disaster.
Chris Kraus and Douglas A. Martin conjure the iconoclastic author.
“There’s often a gap between what we’re trying to say and what we are able to say. Sometimes I’m successful and sometimes I fail. Sometimes it’s painful and sometimes I get into that space where it feels right. That’s the high.”
“Literature is a way of establishing the humanness of others. It’s interested in the relationships between people, between authenticity and truth. That in itself has to make us better disposed to each other.”
New titles and reissues highlighted by Justin Taylor, Chelsea Hodson, Paul La Farge, Emmalea Russo, Alexandra Kleeman, Ted Dodson, Dan Sheehan, Kristen Radtke, Daniel Saldaña París, Marjorie Welish, Tobias Carroll, Jonathan Lee, Scott Esposito, and Lauren LeBlanc
Writing with the body as her touchstone, the novelist channels a woman warrior in The Book of Joan.
If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.
Mourning seeps in like water, but Clemmons skillfully draws on the humor that stems from the duality of conflicting cultures. Her prose is funny, fragile, and unflinchingly candid.
“We were relegated to Chick Lit, romance novels, our subjects were love and motherhood and other sexually-defined things. Modern Love mocks that, to some degree. It pushes back.”