Betsy Bonner’s new memoir offers no solutions for the gap between the idea of unconditional love and limited human experience. Less an exorcism than a tribute, it strives to make every stylistic quirk mirror the halting but deeply-felt contours of her relationship with her sister.
Never losing sight of the sensibilities that make the protagonist of her 1860 novel fallibly, achingly human, George Eliot also venerates Maggie Tulliver’s passions and feelings, suggesting that the path to virtue may not lie in rigidity and conventional moralism, but in the volatile, messy outpourings of the human
Jenn Shapland’s lyrical debut demonstrates how she has been made by, and has remade, her hero Carson McCullers—and how this relationship between writer and subject is at the heart of every biography, and every memoir.
In taking on the Rainbow Murders in her new memoir, Emma Copley Eisenberg also takes responsibility for presenting a clearer picture of Appalachia—a balance that is particularly difficult to achieve when discussing the killing of two young women.