Herbert’s new collection is an ambitious, generous boon . . . his parody of Tarantino’s style and MacSweeney’s lively translation chart unmarked territory.
What makes Modiano’s new novel such an enchanting read is its insistence on the importance of “those spaces where memory blurs into forgetting,” and its glyptic insights into the mechanisms by which forgetting offers up alternative chronologies . . .
With her third collection, out last week, Éireann Lorsung’s ambition is clear: to conduct a historical audit in poetry of the points of history her life touches.
Olga Tokarczuk’s most recent book is filled with themes for this stationary time—the longing not just for travel, but for immortality through movement, through time or space, accompanied by a fascination with our fellow travelers.
Jill McCorkle’s new novel, out today, is obsessed with memory and trauma: how we are often living two lives at once, our bodies moving and doing in the present while our minds are simultaneously being drawn into the past, both real and imagined.
What is at the core of Tracy Zeman’s debut poetry collection is the understanding and articulation of the links between things—between flora and fauna, sediments, barns, fossils, graveyards, and violent events traceable in the landscape and memory.
Joan Lindsay’s historical novel is about the transformations that take place after trauma, and how trauma is distorted when pressed into the molds of different class experiences, representing the final shapes we are allowed to assume.
As Angie pities Simon, Mia pities Elena. This is one of the roles, it seems, of the artist pitied by a conventional community: to voice the truth about people, the mistakes they won’t admit to themselves.
A master of suspense, Daphne du Maurier’s highest skill lies in finding the latent dread in mundane domestic moments.
Deeply rooted in Black feminist discourse, Metta Sáma’s second full-length book of poetry is part of a line of historical poetics—part documentary, part interpretative—that refuses to distinguish between the horrors of the past and their ongoing inflections in the present.