Thrilling and Harrowing: On Claire Vaye Watkins’s “I Love You but I’ve Chosen Darkness”
A surreal autofiction masterpiece explores motherhood, fidelity, and the American West.
A surreal autofiction masterpiece explores motherhood, fidelity, and the American West.
David Palumbo-Liu argues for the radical message of “The Book of Form and Emptiness” by Ruth Ozeki.
Taoyu Yang reviews James Carter’s “Champions Day: The End of Old Shanghai.”
Elisa Wouk Almino looks back at her parents friendship with the Brazilian poet Ana Cristina Cesar, known as Ana C.
Brigitte Fielder reviews recent books by Zakiyyah Iman Jackson and Joshua Bennett.
Emily Suzanne Johnson considers “The Eyes of Tammy Faye Bakker,” a richly detailed biopic that also happens to be a lost soul.
Malena Steelberg traces the course of “The Four Humors,” the debut novel of Mina Seçkin.
Maria Cichosz reviews “Drug Use for Grown-Ups,” saying it’s good drug policy based on bad rhetoric.
Jason Christian finds “The Kindness of Strangers,” the new travelogue from Tom Lutz.
Elissa Suh looks at how director Ryusuke Hamaguchi’s exercises his own creativity in his adaptation of Haruki Murakami's "Drive My Car."
Fady Joudah adapts a chapter of “In the Heart of the Heart of Another Country,” in homage to its author, Etel Adnan, who passed away on November 14.
Despite the hype, neither American nor British elites have been particularly cultured.
Brad Evans speaks with Suzanne Schneider. A conversation in Brad Evans’s “Histories of Violence” series.
Bryan Hurt interviews Jackson Bliss on his debut story collection, “Counterfactual Love Stories & Other Experiments.”
“The City of Good Death” deals in stereotypes related to India, but it also vividly presents the life of the characters in its lush prose.