“A Bildungsroman for our troubled times, set in a place where nothing is safe or certain.”
“well written, masterfully translated . . . rewards rereading.”
Seventy-four years ago, nine years before the publication of The Second Sex and 20 years before The Feminine Mystique, a male Turkish communist novelist created a fictional femini
There are not many recent novels about life in Iran.
Orly Castel-Bloom is best known for her 1992 (2010 in English translation) dystopian darkly satirical post-modern science fiction novel Dolly City (also reviewed in NYJB), which has been i
“Listen up, Netanya baby! We’re gonna throw down the mother of all shows tonight . . . Yeah, open up that hook, table ten, set ’em free . . . there you go!”
“For Oz’s fans and liberal Zionist fiction readers Judas is a required text whose writing is its own reward.”
Is a proclivity to violence and vengeance a gender and/or regional trait? Are the minds of men more than women and/or rural folk more than city dwellers predisposed to violent acts of revenge?
Moroccan writer Tahar Ben Jelloun is an award-winning internationally bestselling author who has been regularly shortlisted for the Nobel Prize, among others.
"If reading about smoking hashish were half as interesting as doing it, this novel would be brilliant."
On a routine visit to Belgium to buy 20 million pounds of wheat, a Moroccan government official finds his trousers have disappeared.
At first glance, The Angels Die is a straightforward story about a young man afflicted by crippling poverty who finds meaning in his wretched life through boxing.
A decade ago Israeli novelist A. B. Yehoshua caused a public brouhaha that highlighted a hitherto overlooked fault line in Israeli-diaspora relations.
On the evidence of A Room (Kheder in Hebrew), the second of its author’s four fiction books and the first to be translated into English, Youval Shimoni is a writer’s writer whose
“. . . an engaging, rewarding, and sometimes lyrical search for a lost time.”
“We Are All Equally Far from Love is not a book to be picked up and put down.
“Always Coca-Cola’s best moments illustrate the fault-line between tradition and modernity . . .
“. . . the entire poetic oeuvre of Israeli poet, feminist, and peace activist Dahlia Ravikovitch . . .”
If Specters were as good as its opening line “The valley was full of ghosts” it could have been intriguing, but it is not.