“While A Tale For The Time Being and Ozeki’s latest novel both explore the relationship between writer and reader, The Book of Form and Emptiness does so much more directly, which is in part due to its structure and premise.” Rachel León reviews Ruth Ozeki’s new book.
“While dystopian novels often serve as cautionary tales, The Confession of Copeland Cane is less harrowing because of the future it portrays than the mirror it holds up to our present-day situation…” Rachel León reviews Keenan Norris’ latest novel.
“Despite how powerfully the objects of our lives might obsess us or orient our attention, they are but one aspect of a larger lived experienced.” Costa B. Pappas on Clare Sestanovich’s debut collection, Objects of Desire, out soon from Knopf.
“Where Murakami truly shines in this collection is where he always has as a writer: when what’s on the page departs reality, when it embraces the odd and the strange.” Travis Holland reviews Haruki Murakami’s newest collection.
“Site Fidelity is a delight to read at the sentence and individual story scale, but it truly becomes a marvel when viewed as a collection.” Michael Welch reviews Claire Boyles’s debut story collection, out soon from W.W. Norton.
“A thorough, imaginative investigation into the profound and sometimes undesirable ways we are shaped by family and place.” Josie Tolin reviews Carribean Fragoza’s debut collection, Eat the Mouth That Feeds You (City Lights Publishers).
“The rubble of what happens is the real souvenir in these stories: memento mori, reminder not just of time gone by, but of death, always there, always approaching.” Ellen Prentiss Campbell on Elizabeth McCracken’s new collection, The Souvenir Museum.
“What makes Let’s Get Back to the Party so successful ultimately is the way in which it ignores or transcends so many of the issues that normally feel like an obligation when you’re writing stories that involve LGBTQIA+ characters”: Deborah Solo Collins on Zak Salih’s debut novel.
“Reading these stories at times feels almost like complicit voyeurism—witnessing pain through a one-way mirror in the laboratory of Nors’s world.” Ellen Prentiss Campbell reviews Dorthe Nors’s new collection, Wild Swims, out tomorrow from Graywolf.
“Like plot, adulthood is a scam, and Lau wants us to feel the discomfort of a coming-of-age story that resists epiphany and catharsis.” Josie Tolin reviews Jamie Marina Lau’s Pink Mountain on Locust Island, published by Coffee House Press.
“It is Ndiaye’s voice—resonate, ruthlessly matter-of-fact, deeply wounded—which will be our light in this blood-soaked landscape of rusting barbed wire and whizzing shrapnel.” Travis Holland reviews David Diop’s At Night All Blood is Black.
“The novel is narrated as an episodic composite, linked by the author’s narrative conceit: a persistent Argentinian journalist has been seeking to interview elusive, reclusive Watanabe.” Ellen Prentiss Cambell reviews Fracture, by Andrés Neuman.
