Nevada Days by Bernardo Atxaga

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The new, harsh landscape has an immediate effect on the narrator. Reno, to him, is a place with no peace where he exists in a state of permanent jet lag.

Power and Powerlessness in Alexander Chee’s Essay “The Querent”

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Raw from the loss of his father, Chee says he got into Tarot because he “never wanted to be surprised by misfortune again.” In Tarot cards he found a tool that could enable him to take power over a life that had rendered him utterly powerless.

My Year of Rest and Relaxation by Ottessa Moshfegh

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In Moshfegh’s no-bullshit approach, female friendship is scrutinized not to find genuine affection but to recognize how different personalities can embolden one’s ability to give into their emotional addictions.

Cyd, Miranda, and the World: Finding Family in Literature in Princess Cyd

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Stephen Cone's film is about a queer teenage girl who, for one summer, discovers herself—what she desires, what she needs, and how she could fit in this world. It’s also, and just as importantly, a movie about words—writing and reading them.

The Poet’s Participation in the Global Economy

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How can and how does the poet contribute to the political, historical, and economic tradition of their society?

The Poetics of Directness in D. F. Brown’s Ghost of a Person Passing in Front of the Flag

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The veneer that is language is a major recurring trope in D. F. Brown’s newest collection. What is real and what is imagined through the filter of language? How might that affect the way we process an event?

There Are Children at the Border

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An old poem by Yehuda Amichai, published in the collection Love Poems, seems more pertinent than ever to me, reading it as the elegy of a parent to their lost child.

How We Read Autofiction

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Autobiography is straightforward in a way that autofiction is not: in this case, the prefix “auto,” or self, pairs easily with the suffix “biography,” or life story. An autobiography tells the self’s life story. But what does it mean to tell a fiction of the self?

Hybridity in Color

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Anne Carson, Maggie Nelson, and Marie NDiaye destabilize categories like genre and color as a way of moving forward with exploring the disturbances found within personhood.

The Story and the Overstory

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Works by Richard Powers and Paul Harding use innovative structures to communicate the messages at their heart.