“Reading this novel in the time of COVID, as workers suffer, in massive proportions, through financial and psychological implications of job loss, is like sucking air through a cavity.” Josie Tolin on Hilary Leichter’s debut, Temporary.
“Wortman-Wunder’s stories never completely implicate or exculpate the protagonists”: Hasanthika Sirisena on Emily Wortman-Wunder’s debut collection, Not a Thing to Comfort You, winner of the Iowa Short Story Prize.
“Over its thirty tales, Why, Why, Why? further solidifies Monzó’s reputation as a master.” Benjamin Woodard reviews Quim Monzó’s latest collection in translation from Open Letter Books.
“Ford has long been something of a roamer, both in life and in his fiction, and that roaming and the restlessness which drives it are front and center in Sorry for Your Trouble.” Travis Holland reviews Richard Ford’s new collection.
“Cargill Falls asks big questions about life, particularly about the ways masculinity is passed on through the generations in America”: Steven Wingate reviews William Lychack’s new novel.
“If memory is a museum to which we all repeatedly return, then perhaps David’s anguish is the price of admission he must pay to keep Imogen alive in the only way the dead can be kept alive.” Travis Holland reviews Jonathan Buckley’s novel The Great Concert of the Night.
“Nesbit’s empathy is as evident and important here as her commitment to accuracy”: Ellen Prentiss Campbell on TaraShea Nesbit’s new novel, Beheld.
“Though Indelicacy does not announce itself as autofiction, it shares with autofiction what I find to be the most fundamental aspects of the genre: the act of writing becomes inextricable from the story being told.” Natalie Bakopoulos reviews Amina Cain’s debut novel.
“Enright works magic here, making visible in Actress the primal origin stories embedded in and surrounding our own, tracing the most intricate of spirals: a double helix—two strands of connected story.”
“Quietly brutal, at times hallucinatory, and laced with emotional trap doors and secret passages, The Illness Lesson vibrates with a slow burning fury”: Emily Nagin reviews Clare Beams’ debut novel.
“Olive, Again is in some ways—but not all—a surprising sort of sequel, just as Olive Kitteridge is a continually surprising person: blunt and gruff, but increasingly capable of both insight and empathy.”
“There is more to this show than we are wont to imagine.” Christi Craig reviews Stephanie Allen’s debut novel, Tonic and Balm.
