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When literally only a handful of readers knew of Lidias work, she was always on the verge of something, slicing away at language like it was hers and hers alone, like she could turn it into anything, blow it up, tame it, orchestrate it, filibuster it, drown it, launch it into the sky. Now Yuknavitch has, indeed, reached a vast audience with bestselling books and as a TED speaker.
Ben Lerner belongs to a rarefied cadre of writer: the poet-novelist. His sedulous understanding of poetry informs the language of his prose, which is beautiful and complicated but never lapses into gaudy braggadocio; it is empathetic, intellectual without being masturbatory, anxious yet assured, a deft coalescence of memoirish self-vivisection and critical commentary.
Lost Transmissions: The Secret History of Science Fiction and Fantasy, edited by Desirina Boskovich, fills in gaps that I didnt realize existed before. This multi-genre anthology explores the interstitial nature of science fiction and fantasy as it slips in and out of music, fashion, pop culture, design, film, and architecture.
In her third poetry collection, Cyborg Detective (BOA Editions), writer, performance artist, and disability rights activist Jillian Weise (aka Tipsy Tullivan) offers work that is angry and funny, savvy and sad, and willing to criticize ableism in all its forms.
Erin Morgensterns new novel The Starless Sea is a beautifully wrought and many-layered tale; a riveting, rollicking, and complex quest for the very heart of story. For those who loved the magical depths and wondrous spaces of Morgensterns debut The Night Circus (2011), there is much here in her second novel to entertain and enthrall.
Escalators are for them. This is crucial to Darius Sadrfather to the protagonist of Disoriental, and a symbol of Iranian progressives who reflect the regret and disappointment of Iranian intellectuals living in exile. Later in the book, the author makes it clear that this sentence was her original source of inspiration in writing the book.
Erin Carlson's I'll Have What She's Having: How Nora Ephron's Three Iconic Films Saved the Romantic ComedyBy Colin Laidley
The endless parade of anecdotes is intermittently entertaining and interesting. Ephrons fantasies were painstakingly crafted; Nora had to completely OK every single look, down to the cut of the shoes, Tom Hanks recalls. Stories of deciding on certain minor details like Kathleen Kelleys tousled hair or Harrys chic bohemian loft provide a window into both Ephrons visiontroublingly elitistand her character as a filmmakercollaborative, but self-assured and obdurate. Unfortunately, they do not get the commentary they deserve, and cumulatively these stories amount to neither a portrait of Ephron nor an appraisal of her legacy.
Marco Rafalà rouses us to applause with How Fires End. The novel teeters suspensefully between the good-hearted and bloody-minded.
The tension created by the murder mystery plot returns to the question of who [do] you stand with? Ristos loyalty is to both his fellow clandestinos from Africa and his Italian wife; to Mogadishu, Somalia and Naples, Italy. Dominis use of genrebe it the murder mystery plot, the film noir characters, or the inclusion of fairytale tropespoint to how an individuals perception shapes and colors ones relationship with culture.
I recently had the chance to see Dana Diehl and Melissa Goodrich stand side-by-side on a stage and read from their collaboratively written story collection, The Classroom. They tag-teamed their way through The Boy Who Arrives in a Box, the books first story, taking turns reading the words that theyd composed together, transitioning with grace and trust and happiness. What was on display, I felt, was the special connection that it takes to write a daring book together.