Where You Can Find Me, by Sheri Joseph
by Carter Sickels
“Where You Can Find Me doesn’t explain the unexplainable, but instead opens us to a complicated world of pain and love and mystery, a world that we both know and can never know.”
“Where You Can Find Me doesn’t explain the unexplainable, but instead opens us to a complicated world of pain and love and mystery, a world that we both know and can never know.”
James Pinto on André Aciman’s new novel, Harvard Square, “a book about the process of remembering.”
Flannery + Robert Forever? Ellen Prentiss Campbell on Carlene Bauer’s debut novel, a fantasy epistolary between two literary icons.
Louisa Hall’s debut novel, The Carriage House, works through the tensions children face in a family that values tradition over individual autonomy, while speaking to the dilemma of writing from—and reading about—the perspective of characters who are privileged.
“Nostalgia, of course, is the most powerful form of lust: portable as your memories, infinitely rechargeable, and impossible to slake.” Dan Keane reviews James Salter’s new novel, All That Is.
J.T. Bushnell reviews Benjamin Lytal’s coming-of-age debut novel, “a vision of youth from the inside.”
A writer named Ruth finds a Hello Kitty lunchbox on the beach near her Pacific-Northwest island home that contains artifacts from a young Japanese girl’s life, setting off a meditation on suicide, the reader-writer relationship, and the human experience of time.
Italo Calvino once said, “A classic is a book that has never finished saying what it has to say.” For author Kevin Smokler, who spent last year re-reading 50 “classics,” the dictum rings true.
Is this real or is this a late-night re-run? Hester Kaplan’s characters navigate past traumas, has-been TV-stars, and small town casinos.
First, try not to think of Diane Williams’ latest short story collection, Vicky Swanky Is a Beauty, as a short story collection. Think of the book as a cabinet of curiosities or Wunderkammer.
Annam Manthiram’s collection of short stories explores what remains for those doomed to a life of dysfunction.
Ana Maria Shua’s grim portrait of woman at a sadistic weight-loss boot camp.
