Sara Collins’s 2019 novel tests and even breaks the boundaries of the gothic voice, showing that a heroine standing on the outside of literary tradition can still inhabit the gothic and push it to new and provocative directions.
Lilly Dancyger’s just-released mixed media memoir is a story of two artists, forever separated, and the history and symbols that provide an artistic shorthand able to move past the boundaries of shared experiences and meet again.
Melissa Faliveno’s 2020 essay collection’s genius, and tenderness, comes from a deep understanding of the language of home: the haunting, often unacknowledged pull place has on us, and how leaning towards and pushing against this pull shapes our identities.
Betsy Bonner’s new memoir offers no solutions for the gap between the idea of unconditional love and limited human experience. Less an exorcism than a tribute, it strives to make every stylistic quirk mirror the halting but deeply-felt contours of her relationship with her sister.
Never losing sight of the sensibilities that make the protagonist of her 1860 novel fallibly, achingly human, George Eliot also venerates Maggie Tulliver’s passions and feelings, suggesting that the path to virtue may not lie in rigidity and conventional moralism, but in the volatile, messy outpourings of the human
Jenn Shapland’s lyrical debut demonstrates how she has been made by, and has remade, her hero Carson McCullers—and how this relationship between writer and subject is at the heart of every biography, and every memoir.
In taking on the Rainbow Murders in her new memoir, Emma Copley Eisenberg also takes responsibility for presenting a clearer picture of Appalachia—a balance that is particularly difficult to achieve when discussing the killing of two young women.