The view camera creates a particular kind of image through extreme pause and meticulous composition; by writing about a view camera, McPhee creates a particular kind of essay, one that uses the techniques of both view camera photography and narrative.
Writers squeeze writing in between their full-time work, even if they don’t talk about it. Journalist and TV anchor Jake Tapper did just that in writing his political thriller, which he wrote sometimes in intervals of only fifteen minutes at a time.
It doesn’t take much formal study to read a novel in another language, if you don’t mind being unable to understand the occasional sentence or paragraph. It depends more on guessing and sympathy with a particular language or culture than it does on a knowledge of grammar or vocabulary.
The eleven stories in O'Neill's collection read like a string of understated poems that progress, implode, and digress. They are compelling not only because of his memorable characters but also because of his density and diction.
Provence is one of these regions, like Bordeaux and the Atlantic seaboard, that have always had a strong connection to Anglophone cultures, starting in the seventeenth century when the court of the House of Stuart went into exile in Avignon.
The world of Ava Gallanter, the protagonist of Iris Martin Cohen’s debut novel, is very small. It consists of the library, hallways, and apartments of the Lazarus Club, a prestigious private members club where she works as a librarian. It is the world of Dead White Men.
Hamilton’s reconstruction of Athenian tragedy, Americanized to focus on individual “poetically transmuted pain,” appealed to Robert F. Kennedy.
Girding Masatsugu Ono’s novel is what seems to be a single question: Does family (or community) exist without trauma?
For a silent era, the most repressive years of the Soviet Union produced an explosion of memoir. Of them all, Nadezhda Mandelstam’s, from the 1960s, is one of the most morally striking. Several decades later, Mandelstam’s former friend Emma Gerstein published her own set of memoirs, challenging Nadezhda’s work.
Cusk's latest novel, the last installment of her much-talked about trilogy, has a deceptively celebratory title.