Literary Fiction

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“the best book this year . . . when it comes to literature.”

In an author’s note to his intense and amazing new collection of short fiction, Colum McCann writes:

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The new English translation of Patrick Modiano’s 2003 novel Paris Nocturne defies categorization.

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“Our private lives are like a colony of worlds expanding . . .

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“There’s nothing particularly wrong with Slade House but, sadly, there’s nothing especially right.”

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Ronald Reagan was just 69 days into his presidency when John Hinckley, Jr., greeted him outside an AFL–CIO conference by firing six shots from a .22 caliber revolver.

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Michel Houellebecq, the enfant terrible of French letters, is no longer an enfant and Submission is far from terrible, but his latest novel is, as usual, an even

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“It’s such a confusing thing, what’s okay and what isn’t okay and what’s accepted and who’s a whore. It’s a furious balance.”

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There is something about really good fiction that brings out the voyeur in the reader, eagerly peeping through a window into another world.

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Nothing says exceptionalism like a debut author winning a two-million-dollar advance.

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If you enter a few chapters deep into this novel, you hear and think and feel akin to the farmers and churls who found their language, their loyalty, and their land wrench

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King David comes alive in a deeply emotional “novel” that tackles the man and the myth in an ambitious sweep of history and lore.

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The Sierra is gone. Colorado is dead. Phoenix has burned. The sky is “bloodred with ash.” Cheese comes in jars and looks like DayGlo; pears are grimy, and blackberries are filled with dust.

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Oreo, the heroine of the title, is raised by maternal grandparents. She is the daughter of a white Jewish deadbeat father and a black actress mother, who is constantly on tour.

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Life runs ahead of us, it runs away from us, it never stops until, one day, it does. How do we live the happiness we tentatively achieve? Is happiness sustainable?

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A small-time gangster who has disappeared and may be dead. Hasidic folk tales. A yarmulke-wearing Oberlin College student expelled for drug dealing. Hedge-fund fraud.

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One would think that with all the international settings, romantic affairs, wars, lovers, and change of circumstance that accost the main character of Sweet Caress it would be a dynamic, i

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“It’s not a bad little novel, by most reckonings, but from William Boyd it’s a disappointment.”

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The Story of the Lost Child, Elena Ferrante’s fourth and alas, final Neapolitan Novel is a stunning conclusion to an utterly captivating, exceptional series about a lifelong friendship and

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“an evocative and provoking collection . . .”

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“A dark and wondrous slice of Appalachia noir.”

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ultimately bores and irritates, rather than pleases and compels. Franzen has a lot to offer, but he needs to stop simpering and whining.”

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“An excellent debut . . .”

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a very intelligent book on a timeless topic, family dysfunction . . .”

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Julianna Baggott can do anything with words. Anything, I tell you.

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Can a narrator with a breezy stream of quips effectively tell the story of how her marriage fell apart after her best friend died in a spectacular car accident?

For a while.

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