The Moore the Merrier

JUSTIN TAYLOR ON LORRIE MOORE’S COLLECTED STORIES

Los Angeles Is Burning

SASHA FRERE-JONES ON A NEW HISTORY OF ’60s RADICALISM ON THE WEST COAST

Evidence of Things Not Seen

JOY WILLIAMS ON THE LIFE AND WORK OF NOVELIST ROBERT STONE

CLANCY MARTIN on the frenzied hustle of the jewelry business

GERALD HOWARD on why Don DeLillo deserves the Nobel

GENE SEYMOUR on James McBride’s novel of a drunk deacon

JON CARAMANICA on Davide Sorrenti’s photographs of his ’90s New York crew

BOOKFORUM CONTRIBUTORS on the season’s outstanding art books

GREIL MARCUS interviews Percival Everett

CHRISTIAN LORENTZEN: Hilary Mantel’s The Mirror & the Light

LAUREN OYLER: Ottessa Moshfegh’s Death in Her Hands

LINDSAY ZOLADZ: Emily Gould’s Perfect Tunes

RATIK ASOKAN: Heinrich von Kleist’s Michael Kohlhaas

ALEXANDER CHEE: Robert Glück’s Margery Kempe

HANNAH STAMLER: Sara Sligar’s Take Me Apart

ALBERT MOBILIO: Deb Olin Unferth’s Barn 8

ANA CECILIA ALVAREZ: Fernanda Melchor’s Hurricane Season

LUC SANTE: Michael Rips’s The Golden Flea: A Story of Obsession and Collecting

MOLLY FISCHER: Katie Roiphe’s The Power Notebooks

ALBERT MOBILIO: David Maisel’s Proving Ground

TOM CARSON: James Shapiro’s Shakespeare in a Divided America: What His Plays Tell Us About Our Past and Future

JENNIFER KRASINSKI: Bernadette Mayer’s Memory

J. HOBERMAN: Ben Katchor’s The Dairy Restaurant

MEGAN MILKS: Harry Dodge’s My Meteorite: Or, Without the Random There Can Be No New Thing

MARK POLIZZOTTI: Starr Figura, Isabelle Cahn, and Philippe Peltier’s Félix Fénéon: The Anarchist and the Avant-Garde

AVA KOFMAN: Joanne McNeil’s Lurking: How a Person Became a User

GREG AFINOGENOV: Joshua Yaffa’s Between Two Fires: Truth, Ambition, and Compromise in Putin’s Russia

PATRICK BLANCHFIELD: Frank Smyth’s The NRA: The Unauthorized History