Reichl’s new memoir tells the story of a nation’s heyday and financial collapse, tracing the interconnection between food and money.
Two memoirs by famous twentieth century ballet dancers, Suzanne Farrell and Gelsey Kirkland, enter into the ballet canon women’s experiences working with George Balanchine, explaining not only how he saw them, but how they saw themselves.
Sigrid Nunez’s memoir of the author’s relationship with Susan Sontag, the writer and doyenne of the twentieth-century New York intelligentsia, plays with the concept of the memoir genre. Nunez largely disappears from her own pages as she explains, through vignettes and remembered lines, Sontag’s mentorship.
Although our culture’s relationship to fiction and truth has evolved, autofiction, a form of fictionalized biography, has been around as long as people have written books.
In contemporary memoir, like works by Kiese Laymon and Jesmyn Ward, the ghosts that haunt the narrators are past selves, dead loved ones, or other traumas that manifest in these writers’ lives.
Reading both of Valeria Luiselli’s most recent books, which each center on the refugee crisis at the US-Mexico border, is a powerful experience—doing so can show us our own complicity in what is often a “background story.”
Death’s lyricism, perhaps, can only be found after the fact, when one tries to prettify the tedium and make sense of inner chaos.
T Kira Madden’s new memoir is ultimately redemptive—it is a book about growing back from brokenness and finding love after a childhood spent longing for it.
Where are all the books about miscarriage and assisted reproduction, about experiencing the loss of something you never had to begin with?
By making her first novel’s characters classicists, Donna Tartt lets us in on the trick: that this book is, in essence, a modern day Greek tragedy.