• print • Winter 2024

    Simone Says

    BY NOW IT’S CLEAR that the academic humanities—that supposedly disinterested pursuit of knowledge for its own sake, preserved from the whims of the market—are under threat. But that threat is perhaps best personified not by a powerful politician loudly looking to defund “ripoff” programs, but by an ordinary guy pursuing a PhD in Business Studies. This is a guy who’s getting an advanced degree not to save his soul or to preserve and expand the edifice of human knowledge but to destroy both. He is at once the ideal consumer and the ideal product of the modern university increasingly run like a

    Read more
  • print • Winter 2024

    Ghost World

    WHILE READING KATYA APEKINA’S spellbinding sophomore novel, Mother Doll, I kept wondering who its protagonist, Irina Petrova, the feisty, over-the-top spirit of a deceased Russian revolutionary, reminded me of. I searched for a literary precursor before it occurred to me that she had evoked the disruptive ghost Fruma-Sarah from the film Fiddler on the Roof. The movie’s jealous spirit doesn’t manifest through a visitation but rather a dream the protagonist conjures up in order to withdraw his daughter from an arranged marriage. In the book, the threat of the unsettled dead works toward positive

    Read more
  • print • Winter 2024

    Loss Illusions

    LAZY CITY, RACHEL CONNOLLY’S EXACTING and wise debut novel, is a chronicle of echoes. Connolly tells the tale of two absences: Kate’s, a graduate student who dies before the book begins; and Erin’s, the novel’s protagonist. Erin had been Kate’s best friend, and Kate’s death so rattles her that it also makes her absent from herself. Lazy City takes place in the limbo that follows loss. It doesn’t treat the sharp pain of rupture—sharpness is among the reliefs Connolly withholds—but the lassitude that engulfs a mind after tragedy is over and before normal life resumes. Erin met Kate in graduate

    Read more
  • print • Winter 2024

    Absolutely Fabulist

    FILMMAKER ANNA BILLER begins her debut novel, Bluebeard’s Castle, with a warning: “Some husbands,” she writes, “are pussycats, some are dullards or harmless rogues, and some are Bluebeards.” Folklore and literary history are full of Bluebeards: Charles Perrault’s original fairy tale, two Brothers Grimm versions, Jane Eyre’s Mr. Rochester, modern retellings by writers, composers, and directors ranging from Georges Méliès and Béla Bartók to Helen Oyeyemi and Catherine Breillat. The elements of the story remain essentially the same: a young woman marries a mysterious, wealthy widower. Despite

    Read more
  • print • Winter 2024

    What Becomes of the Brokenhearted

    THE GREAT AMERICAN NOVEL was for most of the previous century a golden icon, an aspirational myth of grand and glittering proportions. Though he never attained that grail, Seymour Krim, an ardent worshipper at its altar, perhaps best articulated the dream in a 1968 essay in which he described the hopes of fellow aspirants to “use the total freedom of our imaginations to rearrange the shipwrecked facts of our American experience into their ultimate spiritual payoff.” 

    By the time that essay was written, “nonfiction novels” like those of Truman Capote and Norman Mailer were changing the paradigm

    Read more
  • print • Fall 2023

    Background Poise

    THERE’S A PHOTOGRAPH of the writer Sigrid Nunez as a young woman, sometime in her mid-twenties. It is 1977 and she has graduated with an MFA from Barnard, having studied under Elizabeth Hardwick. In the picture, Nunez is quite literally radiant—her gleaming teal top echoes the light bouncing off her high cheekbones. 

    On her left sits Susan Sontag, who is in her mid-forties. Wearing a black vest over a white dress shirt, Sontag leans slightly backward, her right hand grasping her left shoulder. Nunez tilts forward, long black hair framing her open, beaming face. Both women are smiling—their

    Read more
  • print • Fall 2023

    Rand Illusion

    WHEN A NOVELIST'S sophomore novel is narrated by a novelist bemoaning the New York Times review of her first novel, even the most auto-skeptical critic might be forgiven for pulling up a search window. Turns out that the Times review of Lexi Freiman’s Inappropriation (2018) is nothing like the “cancellation” her character, Anna, undergoes in The Book of Ayn. However, the review does begin by declaring that “Satire is a difficult genre to neatly define,” followed immediately by a definition that is roughly what you’d get by googling “satire definition.” You can hardly blame Freiman if reading

    Read more
  • print • Fall 2023

    Preludes to a Kiss

    IF THE TITLE of Helen Garner’s 1984 novel, The Children’s Bach, could strike a chord, it would be a diminished seventh—an unexpected tone of dissonance, curling toward the uncanny, eager for resolution. The title is borrowed, as chords often are, from a 1933 collection of Bach’s easier pieces, edited by E. Harold Davies and still in print. The instructional text telescopes into the novel: Garner’s character Athena is learning to play piano, pinched by determination in the absence of natural talent, no longer the hypothetical child of Davies’s intent. She is the mother of two sons, home for long

    Read more
  • print • Fall 2023

    Oblique Strategies

    IN JUSTIN TORRES’S NEW NOVELBlackouts, disorientation is a pleasure. You might wonder, at first, if you’re being duped by these characters or invited to share in their confusion. We’ll get to the reasons for that confusion, which is to say the plot, but plot is less the point than form and a nebulous atmosphere. Short chapters, shifting perspectives, and doctored photographs give the novel the air of an enigma to solve.

    Memory, in Blackouts, is both personal and cultural, and especially queer. It comes mediated by an older gay man, Juan, whom the unnamed narrator met ten years ago in a

    Read more
  • print • Fall 2023

    Viewer Indiscretion

    I HAVE FREQUENTLY BEEN SEATED in the dark near those who have variously been called “the pilly-sweater crowd,” “cinemaniacs,” or “Titus-heads” (referring to the two main movie theaters at MoMA). They are pejorative terms for a certain type of New York City cinephile, one whose zeal for the seventh art seems to have been leached of all pleasure and has instead transmogrified into grim compulsion. Demographically, they are often (but not always) white, male, and middle-aged or older.

    The eponymous protagonist of Jeremy Cooper’s novel Brian fits that profile, yet he is a Londoner. At age thirty-nine

    Read more
  • print • Fall 2023

    Finder, Keeper

    NOVELISTS ARE LUCKY. Not only is their “I” a fiction—even or especially when the veil is of the gossamer kind—but when they need some space to say what can only be said when “I” is another they can always switch to third person. The critic tends to get stuck in first. So I find myself in a waiting room, just as he does. I am in New York and he—Tunde, a photographer, writer, professor and sometimes narrator in Teju Cole’s novel Tremor—is in Boston. His friend and colleague Emily has cancer. The tests or treatments she is undergoing might give some rough idea as to the span of her life. “For the

    Read more
  • print • Fall 2023

    The Overcorrections

    WHEN ELIZABETH BENNET AND HER SISTERS sit in calico dresses awaiting the favor of a man of “10,000 a year,” the link between that income and that calico remains easily ignored. So easily, that fantasies of Regency romances endure to this day unburdened by discomfiting questions about the origins of the cotton in these drawing-room dramas. By comparison, any respectable circle in the US would know better than to insist, in this decade at least, upon the charm and romance of the antebellum South. One could not produce a Bridgerton set in Alabama as easily as Netflix produced one set in a

    Read more