Complicating conventional Western perceptions of terrorism, Joseph Andras’s debut novel subverts colonial morality and interrogates a philosophical dilemma that is still very much alive in our contemporary consciousness.
Silverman’s debut novel is not only a story about how all-consuming artistic ambition can be, but also a poignant portrait of how much an artist can learn to love her work.
In this debut story collection, the reader feels the story in their body as they read; Moniz makes us look directly at the source of trauma in order to share the pain.
Finn gives us an important, comprehensive picture of the stages of a woman’s learning, suggesting that, over time, teachers will be rejected, new ones sought, and the student might herself become a teacher.
Gina Apostol’s novel, which demands the reader’s active participation, is filled with both humorous and serious moments, references to itself, as well as political and literary history.
Leonora Carrington’s novel revels in inconclusive ideas, surreal reimagining’s, and the peculiarities of human consciousness . . . The novel eludes any whiff of definitiveness, instead layering ideas and questions atop one another like blocks in a Jenga tower. Naturally, Carrington forces the reader to withdraw the first block.
Emma Glass’s stunning second novel is a cautionary tale, revealing the great personal cost that comes with caring for the sick and vulnerable.
Excerpt: For those who are willing to submerge in an intricate and linguistically sumptuous story, Ge Fei’s new novel offers a rewarding world to explore.
Herbert’s new collection is an ambitious, generous boon . . . his parody of Tarantino’s style and MacSweeney’s lively translation chart unmarked territory.
What makes Modiano’s new novel such an enchanting read is its insistence on the importance of “those spaces where memory blurs into forgetting,” and its glyptic insights into the mechanisms by which forgetting offers up alternative chronologies . . .