“The Chosen and the Beautiful offers up a lush glimpse of decadence and corruption, interrogating America’s dark history through the eyes of a narrator it is impossible to forget.”
In the summer of 1981 came the New York Times’ article about “Forty-one homosexuals turning up in emergency rooms with a spectrum of mysterious and lethal symptoms.” Forty years later ther
“Sathian, who writes with great assurance and verve, wields her pen like a magnifying lens to examine the foibles of immigrants who are high achievers but somewhat insular and insecure.”
When a writer decides to base his novel’s plot around a middle-class Jewish kid’s coming of age adventure on Long Island in 1970, it’s not a promising sign.
As the world faces down a crisis of epic proportions—a pandemic not a mere epidemic—it is refreshing to lose oneself in the story of a 15-year-old girl, left largely to her own resources by her
“Pick up Exit if you’d like to sample a very new way of building a crime novel with an unusual pace. It has something of Jasper Fforde in the compiled coincidences.”
It seems a shame when a story begins with the death of the protagonist, but it signals the book’s trajectory and creates a story that must be told, now, lest it be forgotten.
Daughters of the Wild has an intriguing, deeply marketable premise: oppressed and repressed girls, isolated from the outside world, “tending a mysterious plant called the Vine of Heaven” i
It is the end of August and Norah Ramsey, a single mom is raising her 15-year-old daughter, Violet in Raleigh, North Carolina. Norah, who is estranged from her mother Polly, hopes to make a better
The story of a hero seeking to return home is one of our earliest forms of literature—the obstacles that Odysseus faced on his journey back to Ithaca are etched in our collective mind.
This wrenching, engrossing, and sometimes windy novel arrives on our shores firmly rooted in the Elena Ferrante tradition: a portrayal of an area in the south of Italy (Puglia in this case) that fo
