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The latest issue of Development Policy Review is free online. Paul Verbruggen and Tetty Havinga (Rodboud): The Rise of Transnational Private Meta-Regulators. Makau W. Mutua (SUNY Buffalo): What is the Future of Transitional Justice? Guy Sinclair (Victoria): State Formation, Liberal Reform, and the Growth of International Organizations. Adam Chilton and Eric Posner (Chicago): The Influence of History on States’ Compliance with Human Rights Obligations. Robin L. West (Georgetown): A Tale of Two


Paper Trail

The New York Review has reprinted some of Hilary Mantel’s written advice to actors who are performing the stage adaptation of her historical novels Wolf Hall and Bring Up the Bodies. To Cardinal Archbishop Thomas Wolsey, she states: “You are, arguably, Europe’s greatest statesman and greatest fraud.” Ben S. Bernanke, the former Chairman of the

Syllabi

Andre Dubus's best characters

Bibi DeitzAndre Dubus's literary superpower is to hit upon that one thing about a character that makes him him, or her her. And in so doing, with subtle, clever details—breadcrumbs on the trail to the nucleus

Daily Review

Provence, 1970: M. F. K. Fisher, Julia Child, James Beard, and the Reinvention of American Taste

Luke Barr's Provence, 1970: M. F. K. Fisher, Julia Child, James Beard, and the Reinvention of American Taste (Clarkson Potter, $15) would make a great film. There is gorgeous food, impressive scenery—all those twisty little roads and green vistas!—and lots of backstabbing.

Interviews

Jacob Rubin

Writing fiction about an impersonator is like playing Russian roulette with an allegory gun. Those who survive, whose books don't lapse into neat parables of the process of writing, tend to be brilliant. Examples include George Saunders (CivilWarLand in Bad Decline), Tom McCarthy (Remainder), and Pynchon (the reenactment of Alpdrucken in Gravity's Rainbow). The latest is Jacob Rubin, with his new novel The Poser, about the rise and fall of a gifted impressionist.

Appreciation

Repetition Compulsion

Namara Smith

Elena Ferrante is often asked about the classical influences in her work, and reading her early novels you can see why. They are strikingly compressed and spare, set largely in enclosed, almost anonymous, spaces that evoke the stage of a Greek drama, their focus turned inward. The Neapolitan series takes a different tack, resembling not the claustrophobic Greek tragedy but the expansive epic.

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