The Altruists, by Andrew Ridker
“If the end has truly come for the likes of the hoary old patriarchy, then let it happen on Ridker’s watch.” Michael A. Ferro reviews Andrew Ridker’s The Altruists, out now from Viking.
“If the end has truly come for the likes of the hoary old patriarchy, then let it happen on Ridker’s watch.” Michael A. Ferro reviews Andrew Ridker’s The Altruists, out now from Viking.
“I thought the time for the book had come and gone, but when I pulled the book out again in 2017, I realized the topic had become relevant again in the intervening years.” Julie Landsdorf chats with Kate Lemery about her debut novel, White Elephant, out tomorrow from Ecco.
“How can I describe my feelings upon reaching this conclusion?”: Jamie Yourdon on Aurelie Sheehan’s “The Nursing Home,” from her new collection, Once into the Night, out from the University of Alabama Press.
“So, in a weird way I was flipping the script. The husbands and boyfriends are the sperm donators and support staff, and they’re feeling their marginality.” Laura Catherine Brown chats with Hillary Jordan about motherhood, womanhood, and Made by Mary.
“But for Max, Berlin constitutes a border between what’s he’s comfortable with and what he’s fascinated by and afraid of.” Agata Popeda reviews Michael Levitin’s debut novel, Disposable Man, out from Spuyten Duyvil.
Aaron Brown talks with Chigozie Obioma about his new novel, as well as Igbo history and cosmology, predestination and determinism, narrative construction, and more.
“How the writer views the world, their unique angle of vision, is what can draw us in by inviting us to briefly leave behind our familiar vantage point.” Kent Kosack on the power of observation in Dorthe Nors’s “The Heron.”
“These are stories about hurt.” Michelle Ross navigates the pains and pleasures of Maryse Meijer’s new collection, Rag, out now from FSG.
Yohanca Delgado on characters who want in Chaya Bhuvaneswar’s White Dancing Elephants.
From the Archives: Neelanjana Banerjee talks with Helen Oyeyemi about why she’s drawn to supernatural subjects (but not “magical realism”), why vampire stories are really about race, and how to write stories that will freak your readers out.
