“. . . a sweeping, breathtaking story . . . and characters you will long remember . . . the poetry of her prose. . . . The Printmaker’s Daughter is a particular joy.”
“Because Underground Time’s prose largely lacks the delicious density of the best literary fiction in translation, it appears to target a middlebrow readership.
“Umberto Eco is one of just a handful of writers that can be trusted to take me by the hand and lead me into a world that, on first glimpse, I don’t want to venture into.
“The Marriage Artist is one of those rare novels that meet all the criteria for greatness: It entertains, informs, enlightens and finally and most importantly, it inspires.
“Other authors may struggle writing from a first-person or third-person point of view and opt to only write in one viewpoint all the time, but Dagoberto Gilb handles writing in either viewp
“At barely more than 100 small (four and a half by seven inch) pages in Andrew Bromfield’s excellent English translation The Hall of the Singing Caryatids succeeds both as a novell
“Engaging and inventive, Ebba and the Green Dresses of Olivia Gomez in a Time of Conflict and War is an ambitious and confident novel by Joan Tewkesbury, a veteran writer for stage
“All told, The Speed Chronicles deserves great praise for the audacity of the topic, the depth of the discussion, the diversity of its voices, and plain, old, good storytelling.”
“Jeremy Reed is not one of those establishment poets: boring, beige, and bovine. On the contrary, Mr. Reed stands alone, throwing colored glitter in the air.”
“Surely in the past three decades we have moved beyond merely the inclusion of Speedos and horny waiters and The Pines in order for something to be considered ‘gay fiction.’ . . .
“‘Aren’t human beings awful, aren’t they absurd?’ one woman observes. ‘The things one catches oneself out in!’ Unfortunately, one wishes at times while reading these stories that Ms.
Something is not right in Tel Ilan, the fictional Israeli village set in the Manasseh Hills (probably in the general vicinity of Rishon L’Tzion) in which the first seven of the eight stories in
“How the Mistakes Were Made is a fiercely affectionate rendering of that period right before the general public was hungry for the Nirvanas and the Pearl Jams—but hadn’t yet heard
“This review’s brief synopsis cannot possibly convey the novel’s wealth of detail and interconnected plot elements that demand attentive reading. . . .
“Adults and scholars will find much to enjoy both in the editor’s insightful introductory essay and in her concise, interesting biographies of the artists. . . .
“So I will say it in simple language: Buy this book. Read this book. It is masterful. It is one of the best short story collections published this year.
“There is much to like about Lizard World, but the book ultimately resembles the spliced creatures that inhabit its narrative: It is an uncomely hybrid less than the sum of its par
“Mr. Frazier’s writing is so fine it needs to be savored. These people are as unique as all human beings are; not one of them can be wholly admired or detested.
