One very early morning, during an especially harrowing walk through icy winds and freezing puddles on the road from Auschwitz to a work site, prisoner Viktor Frankl lost himself in thoughts of his wife.
Although Sandra Cisneros is most widely known for her authorship of beloved fiction books like The House on Mango Street and Caramelo, she calls herself, first, a poet-activist.
In A Lucky Man, Jamel Brinkley’s stunning debut collection, the stories are not formally linked, and yet they are, implicitly, by their beautiful prose, by their intimate gaze at character, by their focus on black men, by their setting in New York City.
There’s much more to fictional weatherscapes than the tonal work that lies on the surface. Weather presents a fundamental aspect of narrative that, by definition, lies outside of the realm of agency.
While many have praised the book’s feminist themes, none have noticed that the Hulu adaptation highlights Atwood’s special warning intended for women writers, historians, artists, and documentarians. In a patriarchal society turned radical and violent, a woman’s voice will be stifled by taking away the written word.
In corporeal and metaphysical terms, Ferrante’s girls and women are made porous and penetrable, pervious and vulnerable, in ways that raise questions regarding the contemporary status of a woman’s body, and the modes of resistance we might fashion in changing its position.
“The baby is dead. It only took a few seconds.” So begins Leïla Slimani’s French bestseller, translated into English by Sam Taylor. The thriller won France’s Prix Goncourt—Moroccan-born Slimani is only the twelfth woman to win the award—and uses an American news story as its source.
When you immigrate, you bring an entire world along with you, a fifth limb impossible to detach, though internal and external forces demand its removal. Immigrants enter into a state of constant negotiation, deliberating what stays and what goes within their sociopolitical space.
The stories in a new anthology edited by Viet Thanh Nguyen speak not only of estrangements from languages, loved ones, and countries of origin, but also of the pain of being in a new place that is not always accepting.
There is a pathos and also an infuriating self-indulgence to the central protagonist, Cy, obsessed with finding lost dinosaurs, rumours of which abound, in the lands beyond the Mississippi.