At the New Yorker, Katy Waldman sees traces of autofiction in James Lasdun’s new novel, Afternoon of a Faun, which presents itself as social realism blended with elements of a thriller.
Daniel Davis Wood talks to Thomas Chadwick, author of Above the Fat.
Earlier this week at the Glasgow Review of Books, Becky Varley-Winter read Jean Frémon’s Now, Now, Louison (trans. Cole Swenson) and Annie Ernaux’s The Years (trans. Alison L. Strayer) side-by-side, as books composed of “layers of stories”.
Recently, in the Washington Post, Mark Athitakis lamented the absence of a millennial novelist who could claim to be a household name. Today, at Book & Film Globe, Katharine Coldiron explains why there will never be one.
At Full Stop, Will Preston reviews Dark Constellations, a strange new novel by the Argentinian writer Pola Oloixarac (trans. Roy Kesey), which blurs the lines between different biological forms.
David killed the Queen. It was nothing personal, he said. It was just politics. All he wanted was to make a political statement about the abuse of power in the country.
Writing for Full Stop, Blair Johnson attempts to pin down the place and function of silence in Ian Maleney’s Minor Monuments.
At the London Review of Books, Ange Mlinko puts her finger on the artistic sophistication of the short stories of Diane Williams.
At the New Yorker, Abhrajyoti Chakraborty argues for recognition of Yuko Tsushima’s Territory of Light (trans. Geraldine Harcourt) as an example of indirect autofiction.
Resonating with Madeleine Schwartz’s remarks on the politics of Sally Rooney, Nathan Goldman writes about the politics of Rooney’s conservative aesthetics in the Baffler.
