My Back Pages, by Steven Moore
by Julian Anderson
“Appreciation, not vivisection, is his goal”: Julian Anderson on My Back Pages, critic Steven Moore’s collected reviews and essays, out this month from Zerogram Press.
“Appreciation, not vivisection, is his goal”: Julian Anderson on My Back Pages, critic Steven Moore’s collected reviews and essays, out this month from Zerogram Press.
“So how did Sansal pull this off?”: Jenn Solheim on dystopian narrative authority in Boualem Sansal’s 2084.
“Renee Macalino Rutledge builds her debut novel on the bedrock of fairy tales”: Christi Craig on The Hour of Day Dreams, out this week from Forest Avenue Press.
“It’s rare to read a book that’s right nearly all the way through”: Emily Nagin on Deborah Willis’s new collection, The Dark and Other Love Stories.
“The jarring effect of Wilson’s tale is that nothing is as it appears”: Mari Carlson on Rohan Wilson’s To Name Those Lost.
“Always Happy Hour combines all the addictive ingredients of a pop song with a self-awareness and emotional insight that is both searing and deeply sympathetic”: Emily Nagin on Mary Miller’s latest collection.
In 2011 Michael Rudin reviewed Issue #4 of PANK and spoke with co-founder Roxane Gay.
“One of the challenges of an historical novel is to use a major political event to illuminate character rather than as a ‘deus ex machina'”: Sophie Cook on Jonathan Rabb’s new novel.
“The narrator has spent most of her life in other people’s shadows, but through her storytelling asserts an identity that’s no longer tethered to another, one released only by disgrace.”
“This collection, as a whole, is not about the Space Age, per se. Still, that place and time exquisitely inflect each story.”
“The fetishization of Devon’s body reveals the uncanniness of the ‘normal’ teenage body, held up as the ideal of beauty and desirability though it is, in a sense, incomplete”: Mary Stewart Atwell reviews Megan Abbott’s latest novel.
“Any adult who has spent significant time with young people knows these feelings—the loss of a childhood self, the urge to save a teenager from your own mistakes. We Show What We Have Learned is full of these moments of doubling and their accompanying ache.”
