Miriam Toews’s 2004 novel explores layers of trauma in a Mennonite community, but the most striking, heartbreaking thing about this book is the moments of grace that Toews identifies within the pain.
Despite the memoir’s rigorous production method, Jean-Dominique Bauby’s mind wanders throughout the book, resulting in the vivid connection between his present and his past.
Vincent the dead cat is a wake-up call in Assaf Schurr’s ten-year-old novel, much like a god or a guiding hand pushing the plot along. He speaks inconvenient truths and appears to be omniscient, at least when it comes to the secret lives of the book’s characters.
Catherine Raven’s friendship with a fox that wanders onto her property highlights the challenges she’s struggled with for years—an urge to isolate in a world that celebrates civilization, a belief in magic in a world of scientific inquiry, and a strong intuition that what is most common isn’t necessarily
Behind the straightforward family disagreement that underpins Hala Alyan’s new novel lies all the complications, subtleties, and dishonesties upon which families are founded, along with the fears, longings, and displacement more particular to immigrant households.
Kiley Reid’s debut novel delicately and insightfully examines the naiveté and smugness exhibited by people who consider themselves allies yet only understand how to speak and behave as allies in times of clear and immediate strife—and who, even then, are only familiar with the performative aspects of the task.
Ling Ma’s 2018 novel is a story about what it means to make a life when one has been removed—whether willingly or by force—from one’s familiar surroundings, and the faith and perseverance required in order to call a new place home.
Daniel Oz’s flash fable “Beauty Sleep” and Yonit Naaman’s prose poem “That’s What I Want” explore the challenge of overcoming the elusive, patriarchal standard of beauty.
In “The Girl Who Was Plugged In,” a futuristic society has found a loophole in a law forbidding commercial advertisements—the use of “gods,” young, beautiful, pre-programmed, and mechanically-engineered celebrities whose lives are a series of opportunities for product placement. In this world, where perfection has been manufactured, the flawed
The fictional, nameless nation in Katie Kitamura’s 2012 novel is a country of men obsessed with possession. They care to possess land, money, women. What use these things might be to them is hardly of any interest. The main thing is to own them, to overpower them, and only