Of all the clichés that Hollywood movies have foisted upon their viewing public, one of the most robust is that the glamorous dream machine runs on the fuel of starlets’ blood and agents’ bile and writers’ flop sweat and all the filth that Kenneth Anger could scrape from the gutters of Sunset
What would “late style,” that unholy, messy, and probably overutilized critical category, mean for a writer like William Gass? To turn the sentence around, if William Gass were said to possess a late style—a moment not of well-earned serenity and reconciliation but of what Edward Said
For quite some time now, Mohsin Hamid has been chipping away at the shape of the novel, testing out the ways form, structure, and narration can be manipulated to set in relief the story he wants to tell. In <em style="font-size: 10pt;">Moth Smoke </em>(2000), his debut novel about a banker in Lahore
Amity Gaige's Schroder, her third novel, is a daring book. It tells a suspenseful, economical story that is also a clever act of social commentary. It asks us to empathize with one of the most benighted figures in today's marital hierarchy: the sketchy divorced dad.
In Jamaica Kincaid's novel See Now Then, memories appear and reappear with a hypnotic, furious regularity, and the novel exhausts itself trying to control them—as if stanching a hemorrhage, or cauterizing a wound.
When Anne Carson was a child, she read Lives of the Saints and adored it so much she tried to eat its pages. The Canadian classicist and poet has never lost this desire to merge with the text; if anything, she’s created forms that allow her to eat as many pages as she possibly can. In her translations
Pity; they used to be such nice girls. Leah Hanwell and Keisha Blake grew up together in a grim housing estate in North West London. They acquired university degrees, good jobs, political convictions, pretty husbands. And they’re miserable. Now in their mid-thirties, they’re pickling in bile and
Many readers will recall their first encounter with Danilo Kis; as a high spot of the long ’80s. I know I do. The slender book of seven linked stories that decisively established his reputation here, A Tomb for Boris Davidovich, was passed among friends like the faux-samizdat literature it coyly
“I am beginning to realize that taking the self out of our essays is a form of repression,” Kate Zambreno writes in Heroines. “Taking the self out feels like obeying a gag order—pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and