The stories of Ikonomou’s new collection revel in ambiguity, illustrating the crisis in a more nuanced way than many of the “crisis lit” works that reach the U.S. Importantly, too, they demonstrate Ikonomou’s gift for Greek in its rawest spoken form.
George Saunders’ most recent book acknowledges that to write a historical novel is to look at bones and imagine them as flesh and spirit.
Jhumpa Lahiri’s work in Italian is reminiscent of liturgy books with Koine Greek on the left side and English on the other. That she includes the “little brother,” a moniker she’s given Italian, in her 2015 book—and on the left side—is a reversal of the norm.
“Weak expression Poor artistry,” reads the fictional note in red pencil on Constantine Cavafy’s sheaf of poems sent to the poet Jean Moréas in Ersi Sotiropoulos’s 2015 novel, translated by Karen Emmerich.
Claire Messud’s novel intimately considers the legacy and trauma of the pieds-noirs through the story of a family living in Marseilles, France in the 1980s and 1990s.
Lilliet Berne, the orphan turned courtesan turned opera star who serves as the protagonist of Alexander Chee’s 2016 novel, embodies the complicated interchange of power and weakness that accompanies a woman’s silence.
Stefan Zweig’s autobiography serves as a poignant warning as the world grapples with the rise of ethno-nationalism.
In Stallings’ new collection of poetry, women are immersed in what it means to be a mother, and to see oneself growing older.
Michel Houellebecq has always been a provocative writer and in fact considers himself to be a real provocateur, someone who “says things he doesn’t think, just to shock,” and who leans into that shock when he has a sense that people will hate it.
Writers, like all artists, experience things twice—once in the moment, and again when attempting to draw out the details of what has happened to bring a work to life. In the digital age, however, many experiences have been stripped of vibrancy.