Annihilation portrays the chaos of “post-truth” in narrative form.
Gass’s new novel, Middle C, is likely to strike most readers as less dependent on language games, but such an impression would ultimately be only superficial.
H.W. Brands’s The Heartbreak of Aaron Burr lays out the details of Burr’s lifetime in short, swiftly moving chapters.
A major risk for any author—especially one whose main theme involves human consciousness—is overusing certain techniques and letting the voices of characters overlap and repeat.
Of all the preposterous faux vehicle manuals out there, Christopher Boucher’s How to Keep Your Volkswagen Alive has to be the most ridiculous.
If flash fiction appeals to a new, attenuated attention span among some readers, Diane Williams’s stories reward expanded attention and encourage rereading.
One of the first exploitation films to be shown endlessly during the early days of cable, 1980’s The Exterminator is also one of the more grim entries in the genre. Gory, jaded and ambivalent on the merits of the vigilante, it anticipated Bernard Goetz by a few years.
Picture this: a secluded scientist waits in a checkout line for his new love interest to return with an item. An unusual pickup for him, she had invaded his radio interview about bird flu (he’s an expert) and then asked him to bed when they had drinks.
Antonio Pietrangeli’s 1960 film Adua and her Friends (Adua e le Compagne) explores the end of an era and points to future cultural upheaval.
Those who love hearing fashion discussed as serious art will love this documentary, a portrait of the late iconic French designer, Yves Saint Laurent.
The stories in A.L. Kennedy’s What Becomes seem driven by two entities: the author’s brain and her prose appendage. The latter is so alive it appears to possess a separate language pulse. In heightened moments Kennedy uses language to bind thought to physical sensation, which in turn stimulates a replicated response in the brain of the reader. This simulated experience is what makes her stories so striking and also intense.
In an occasionally polemical and highly impassioned voice, Edith Grossman advances the most brilliant and persuasive arguments for the absolute importance of literary translation I have ever encountered.
Zadie Smith, the prodigiously gifted English novelist, seems to have been caught in the tangle of literary debate from the beginning.