Dwight GarnerDwight Garner is a book critic for the New York Times. A former senior editor of the New York Times Book Review, he was the founding books editor of Salon.com. His writing has appeared in Harper's Magazine, The Oxford American, The Nation, Slate, Vanity Fair, and elsewhere. Garner lives in Garrison, New York, with his wife and two children. He can be found on Twitter @DwightGarner
Robert S. Mueller
PanThe New York TimesIt perhaps necessarily lacks both the novelistic sweep of the 9/11 Commission Report and the intimate — \'prurient\' would be a more exact word — scene-setting of the Starr report on President Bill Clinton ... The Mueller report is a dense slab of verbiage. It is not written in bureaucratese, but it is not far from it either ... This is not a narrative that warms in the hands. There is no sweeping language. It appears to have been designed to make minimum political impact ... A plausible title for the paperback editions that will soon be in bookstores might be, We Didn’t Not Find Anything ... The Mueller report is a thorny, patriotic addition to this curious American shelf ... With its blacked-out redacted passages, the report more closely resembles a reverse crossword puzzle. We will collectively be solving for its inky elisions for some time, perhaps the rest of our lives ... reading it is like consuming a short story collection that’s already been excerpted in every magazine you subscribe to ... Volume Two of the Mueller report, like the second volume of Bob Dylan’s greatest hits, is the more stereophonic and satisfying ... It is hardly pleasurable to read, on textual as well as emotional grounds.
David E Hoffman
PositiveThe New York Times Book Review\"... authoritative and chilling ... a readable, many-tentacled account of the decades-long military standoff between the United States and the Soviet Union ... What’s particularly valuable about Mr. Hoffman’s book, however, is the skill with which he narrows his focus (and his indefatigable reporting) down to a few essential areas. Thanks to interviews and new documents, he provides the fullest — and quite frankly the most terrifying — account to date of the enormous and covert Soviet biological weapons program, developed in defiance of international treaties at the same time that the Soviets appeared to be earnestly interested in reducing their weapons stockpile ... Mr. Hoffman has an eye for bleak, jagged details ... Mr. Hoffman is so careful not to bore his readers that he sometimes underestimates them, verging closer to Tom Clancy than to John Lewis Gaddis. More synthesis and cerebration would have made this good book better.\
Ed. by Anthony Harkins and Meredith McCarroll
MixedThe New York TimesFor every essay in Appalachian Reckoning that’s provocative, another is unreadable. The academic language in some of these pieces...makes it seem as if their authors were walking around on stilts ... not everything here is a polemic. The volume includes poems, photographs, memoirs and a comic piece or two. I’m not entirely sure why it’s in this book, but Jeremy B. Jones’s love song to Ernest T. Bass, the fictional character on \'The Andy Griffith Show\' who was addicted to throwing rocks, is a pleasure. A few of these writers try to one-up [J.D.] Vance on the atrocity meter ... The book to read, if you’re interested in the history of the exploitation of Appalachia, is Steven Stoll’s Ramp Hollow: The Ordeal of Appalachia (2017).
PositiveThe New York TimesThe Swerve...brings us Mr. Greenblatt in his more cordial mode. He wears his enormous erudition lightly, so lightly that most readers will forgive him for talking, at times, a bit down to them. This book is well-brewed coffee with plenty of milk and sugar stirred in ... Approaching Lucretius through Bracciolini was an ingenious idea. It allows Mr. Greenblatt to take some worthwhile detours ... The details that Mr. Greenblatt supplies throughout The Swerve are tangy and exact ... This book’s pumping heart is Mr. Greenblatt’s complicated reckoning with Lucretius’ masterpiece ... It’s possible to admire Mr. Greenblatt’s book while wishing it contained more of the boldness and weirdness he admires in Lucretius. Mr. Greenblatt’s prose, charted on a Geiger counter, would register mostly a state-of-the-art air-conditioner’s steady hum. I found myself longing for a few more unsettling spikes of intellect and feeling. You won’t be bored by The Swerve; neither will you be on the edge of your seat.
RaveThe New York Times\"Choi’s new novel, her fifth, is titled Trust Exercise, and it burns more brightly than anything she’s yet written. This psychologically acute novel enlists your heart as well as your mind. Zing will go certain taut strings in your chest ... Choi gets the details right: the mix tapes, the perms, the smokers’ courtyards, the \'Cats\' sweatshirts, the clove cigarettes, the ballet flats worn with jeans, the screenings of \'Rocky Horror,\' the clinking bottles of Bartles & Jaymes wine coolers ... Choi builds her novel carefully, but it is packed with wild moments of grace and fear and abandon. She catches the way certain nights, when you are in high school, seem to last for a month — long enough to sustain entire arcs of one’s life ... The plot fast-forwards about 15 years. Minor characters become major, damaged ones. I do not want to give too much of this transformation away, because I found the temporary estrangement that resulted to be delicious and, in its way, rather delicate.\
RaveThe New York Times...[an] uncommonly powerful memoir ... His memoir is strewn with words from others he read while in prison — Nelson Mandela, James Baldwin, Frantz Fanon, Frederick Douglass ... Solitary is a profound book about friendship ... This story, which Woodfox has written with Leslie George, is told simply but not tersely. If it sometimes induces claustrophobia, well, it’s meant to. Very often the painful details, and the author’s own humanity in the face of them, start to make your chest feel too small ... If the ending of this book does not leave you with tears pooling down in your clavicles, you are a stronger person than I am. More lasting is Woodfox’s conviction that the American justice system is in dire need of reform.
RaveThe New York Times\"... audacious ... an intimate, brainy, gleaming epic, set mostly in what is now Zambia ... The plot pivots gracefully — this is a supremely confident literary performance — from accounts of the region’s early white colonizers and despoilers through the worst years of the AIDS crisis ... The reader who picks up The Old Drift is likely to be more than simply impressed. This is a dazzling book, as ambitious as any first novel published this decade. It made the skin on the back of my neck prickle. Serpell seems to want to stuff the entire world into her novel — biology, race, subjugation, revolutionary politics, technology — but it retains a human scale ... Serpell carefully husbands her resources. She unspools her intricate and overlapping stories calmly. Small narrative hunches pay off big later, like cherries coming up on a slot machine. Yet she’s such a generous writer. The people and the ideas in The Old Drift, like dervishes, are set whirling. When that whirling stops, you can hear the mosquitoes again. They’re still out there. They sound like tiny drones. They sound like dread.\
PositiveThe New York Times\"Washington’s subtle, dynamic and flexible stories play out across [Houston\'s] sprawling and multiethnic neighborhoods. His characters move through streets named so often — Richmond and Waugh, Rusk and Fairview — that they come to have talismanic power, like the street names in Springsteen songs ... Washington cracks open a vibrant, polyglot side of Houston about which few outsiders are aware. On one level, this landscape is bleak ... But there is a fair amount of joy in Washington’s stories, too ... A few of these stories are barely more than vignettes. One or two don’t quite coalesce. This is on a certain level a modest book, one that isn’t going to drive other young short story writers into the shadows. But the promise Washington displays is real and large.\
Andrew G McCabe
PositiveThe New York Times Book ReviewBetter than any book typed this quickly has a right to be ... a concise yet substantive account of how the F.B.I. works, at a moment when its procedures and impartiality are under attack. It’s an unambiguous indictment of Trump’s moral behavior ... a rapid-fire G-man memoir ... patriotic and oddly stirring. It has moments of opacity, where you feel he is holding back at crucial moments, but it is filled with disturbingly piquant details ... if McCabe has made mistakes, his basic decency shines through in this memoir.
RaveThe New York TimesIn The Empathy Exams...[Jamison] calls to mind writers as disparate as Joan Didion and John Jeremiah Sullivan as she interrogates the palpitations of not just her own trippy heart but of all of ours ... her cerebral, witty, multichambered essays tend to swing around to one topic in particular: what we mean when we say that we feel someone else’s pain. I’m not sure I’m capable of recommending a book because it might make you a better person. But watching the philosopher in Ms. Jamison grapple with empathy is a heart-expanding exercise ... Ms. Jamison is painfully well read and well informed. She is capable of quoting James Wood, Axl Rose and the philosopher Mark Jefferson in the space of four or five sentences without sounding deranged. At the same time, one or two of her lesser essays find her swinging too frequently from quotation to quotation, as if from vine to vine. Her sentences have an ideal speed-to-power ratio ... I’ll read whatever she writes, as long as I’m around.
PanThe New York TimesLet Me Finish is a superficial and ungainly book that tries to cover so many bases at once — it’s a series of attacks and justifications, it’s a master class in sucking up and kicking down, it’s a potted memoir, it’s a stab at political rehabilitation — that reading it is like watching an octopus try to play the bagpipes ... An alternative title for this unintentionally poignant book might have been, You Used to Really Like Me, Remember? ... Christie saves his real fire in this book — which was written by a ghostwriter named Ellis Henican — for Bannon, the one-time chief executive of Trump’s campaign ... If you skim through Let Me Finish riffling the book like a deck of cards, nearly all you will see is Christie saying, in so many words, I told you so ... Christie’s sense of being right at every moment is wearying. Like a fan that blows for too long, his grille fills with dust ... As a literary performance, this book is nylon, not wool or silk ... Trump himself comes off rather well in this book ... Is Let Me Finish a plea to be let back in, at a high level, to Trump’s administration? ... Do voters want him back? This self-serving book doesn’t make the most appealing case.
RaveThe New York Times Book ReviewThe problem with Tommy Tomlinson’s inspirational new book is that reading it will make you hungry ... His clean and witty and punchy sentences, his smarts and his middle-class sensibility made me yearn for the kind of down-to-earth columnist I often read in the 1980s and 1990s but barely seems to exist any longer ... Tomlinson may not be for everyone. Like Rick Bragg, he can sometimes seem like a Southern boy with just a bit too much syrup in him. If tears and frequent use of the word \'mama\' set your teeth on edge, he may start to resemble, in your mind, a pre-moistened towelette ... As for me, I loved this book. I found myself sneak-reading it from the moment it came in the door. As with a sack of White Castle burgers, I hated to reach the end.
Elsa Morante, Trans. by Ann Goldstein
PositiveThe New York Times\"Morante’s vision is so baroque, and her prose so operatic, that after reading her I needed some alone time, with cucumber slices over my eyelids ... Morante delivers epic emotions ... Morante’s themes are not subtle. Arturo’s Island, even in Goldstein’s adroit translation, is a sledgehammer performance. But her writing, once you acclimate to its gargoyle extravagance, has the power of malediction.\
Doug Bock Clark
RaveThe New York Times\"... immersive, densely reported and altogether remarkable ... Like a first-rate novel, too, The Last Whalers has an abiding but unforced theme. It’s about the flood of modernity, in the form of outboard motors and cellphones and televised soap operas, as seen from the perspective of a curious but wary society that fears losing itself in the deluge. There’s a lot going on in this feat of journalism, but at heart it’s about a whaling community. Clark does not stint on beautiful, terrible, blood-streaked accounts of hunting sperm whales ... Clark’s writing is supple but unshowy ... Accumulated tensions are only slowly released. Scenes are delivered, not summaries. This book earns its emotions ... You finish The Last Whalers with hope for [the tribe described], and hope that Clark writes many more books.\
RaveThe New York Times\"... blazing ... Writing fiction is to no small degree a confidence game, and Leading Men casts a spell right from the start ... What you’ve yet to learn is how reliably tender and evocative Castellani’s onrushing prose can be. His first achievement in Leading Men is to create a world, one inhabited largely by young, charming gay men, that seems to be comprised almost entirely of late nights and last cigarettes and picnics on good blankets and linen suits with the trousers rolled to the knees. This writer’s scenes glitter, and they have a strong sexual pulse ... [Castellani’s] second achievement is to pry this milieu open and pour a series of intricate themes into it ... This book is a kind of poem in praise of pleasure, and those pleasures are sometimes stern. Its author knows a great deal about life; better, he knows how to express what he knows ... Leading Men has a few dead nodes in it and the subplot, involving the reclusive actress and a production of Williams’s final play, generates fewer sparks than does the account of Williams and Merlo’s dazzled propinquity. But this is an alert, serious, sweeping novel. To hold it in your hands is like holding, to crib a line from Castellani, a front-row opera ticket.\
MixedThe New York TimesWhen did \'logic\' and \'facts\' and \'firsthand accounts\' get such a bad rap? (Did I miss a memo?) Anolik makes a show of tossing her car’s steering wheel out the window at the first turn. The resulting book is good and bad in almost equal measure. It’s good because Anolik has an instinctive grasp of why Babitz mattered as a writer and because, despite her apparent protestations to the contrary, she’s done her homework. Hollywood’s Eve fills in many of the gaps in our knowledge of Babitz’s life and work. It’s bad because it’s so breezily written, as if willing itself to become a work of what used to be called the New Journalism ... Reading it, you feel you’re taking part in three conversations, two on call-waiting ... Anolik sometimes verges on condescending to Babitz ... But she’s a sensitive reader of her work and owns a sly wit ... Anolik’s book succeeds in its primary mission: It sends you racing to read the work of Eve Babitz.
MixedThe New York Times\"Bowlaway is a large and caterwauling sort of opera buffa, packed with outsize characters — some with recherché talents — and wild, often dreamlike events. If this novel were a bar, it would be the kind of joint where the Christmas lights are left on all year long ... More than one woman in this novel has lost a child. The writing on this topic makes for close to unbearable reading ... This is the sort of novel in which nearly every character has an offbeat name (Leviticus Sprague, Cracker Graham, LuEtta Mood) and can seem more like a collection of quirks than a human being ... McCracken in Bowlaway comes close to writing caricatures instead of characters. That this ambitious novel nearly works is a testament to her considerable gifts as a novelist, her instinctive access to the most intricate threads of human thought and feeling ... The plot has many resonances but never fully sets its hooks in us ... This novel’s cast grows epic, but McCracken is always most impressive when she works small, when she is describing movie kisses or corsets or simply loneliness and longing.\
PositiveThe New York Times\"Sally Rooney’s sentences are droll, nimble and matter-of-fact. There’s nothing particularly special about them, except for the way she throws them. She’s like one of those elite magicians who can make a playing card pierce the rind of a watermelon ... In the new novel, there [are fewer throwaway lines] but perhaps something better. There is, in the pointed dialogue, a reminder of why we call it a punch line ... Rooney is almost comically talented at keeping the lovers in her novels frustrated and apart. When you are deep into Normal People, you may start to feel that she has gone to this particular well one too many times ... [Rooney is] an original writer who, you sense, is just getting started.\
MixedThe New York Times Book ReviewAn ebullient and often moving way to organize history ... consuming [Dear Los Angeles is a bit like watching an orange-scented, palm tree-lined, gin-soaked version of Christian Marclay’s 24-hour film montage, The Clock ... Kipen doesn’t have the historical richness to work with that Carpenter did in New York Diaries. Among this collection’s more obvious blind spots is pop music. This book’s joys are pomegranate joys, feeling for seeds among the pith.
PositiveThe New York Times\"[The Incomplete Book of Running is] funny, well written (mostly), filled with humility and perpetually on the scan for moments of stray grace ... Sagal’s book is not the one to read if you crave advice about the best cushion-heeled socks to buy, the correct earbuds (he advises against listening to music while running) or the finest anti-chafing creams. If you want that sort of information, you can turn to a magazine like Runner’s World, where Sagal has a column. He’s funny and perceptive about running magazines, by the way.\
Karen Thompson Walker
PanThe New York Times\"Walker has a gift for spooling out [the novel\'s] details, as if we are kittens and she is trailing string ... Walker needs to keep the plots of her novels spinning, like plates on sticks. When the action slows, you realize what a limited and sentimental novelist she too often is ... None of these characters says or does an interesting thing. Anarchic instincts and impure thoughts are kept to the barest minimum. Minds race in neutral. Reading this book’s bland dialogue is like watching players on center court use dead tennis balls ... Walker knows what to do when she’s sinking her initial hooks into her readers. But she’s such a mild writer here that a true sense of menace is never allowed to bloom.\
PositiveThe New York Times\"There are other soft spots in Monument, moments when Trethewey’s metrical dexterity slackens or her political points are too on the nose. These moments are swamped, however, by the author’s insistent intellect and her gift for turning over rich soil. The human details in Trethewey’s work — those crabs, that music, those cracked palms — are like the small feathers that give contour to a bird’s wing. Monument is a major book, and in her best poems this poet soars.\
MixedThe New York TimesBerlin (1936-2004) was a writer of tender, chaotic and careworn short stories ... she’s a writer you want in your back pocket ... This memoir, which lacks the richness of Berlin’s fiction, had been left uncompleted ... it’s a stand-in until the inevitable biography of Berlin is written.
PositiveThe New York TimesI will read anything George writes ... Nine Pints is her fourth book...and her most personal ... As if George were pinching and expanding an image on a screen, Nine Pints expands to open up a world ... This book was clearly a trial for the author to write; she was frequently ill with dire symptoms caused by hormonal fluctuations during its composition. These facts add a bass note of mortality to the discussion ... at one or two moments, George’s prose is not as utterly sharp as we’ve come to expect from her ... her English phlegm never falters.
PositiveThe New York Times... sensitive and sharply written ... Without fawning, [Spurling] warms Powell up. She places his work in social and intellectual perspective, and briskly lays bare a life rich with friendship and incident ... Spurling, writing with style and spark, pulls Powell down from his chilly pinnacle. It’s a pleasure to meet him all over again.
PanThe New York Times\"Burns expands this material into a willfully demanding and opaque stream-of-consciousness novel, one that circles and circles its subject matter, like a dog about to sit, while rarely seizing upon any sort of clarity or emotional resonance. I found Milkman to be interminable, and would not recommend it to anyone I liked ... the repetitions, the piling up of extraneous detail, the dashes within dashes, the sense she instills in her readers of craving verbs the way an animal craves salt [is representative of Burns\' style in Milkman] ... The best thing in Milkman is Burns’s occasionally sensitive portrait of this young woman’s flickering consciousness ... Sometimes her pile-on sentences achieve a prickly, shambolic sort of grace ... Milkman requires so much effort for so modest a result.\
RaveNew York Times BooksSerious, sober and frequently mesmerizing ... spare yet supple prose ... contains some very adept writing about theology and religious feeling ... manages to nearly always hold a skeptical reader rapt...a significant literary performance. This novel’s contents are under enormous pressure ... There are no blood clots of showily displayed research to block this novel’s arteries.
Lionel Trilling and Adam Kirsch
PositiveThe New York Times\"Lionel Trilling, the regal American literary and social critic, was an ardent letter writer — he composed as many as 600 a year — but a slow-moving one. Corresponding with him was like playing squash with an opponent who pockets your serve, walks off the court and returns four months later to fire it back...and nearly all the letters in Life in Culture: Selected Letters of Lionel Trilling, edited by Adam Kirsch, begin with apologies and small arias of explanation for delay. The younger, slicker Ovitz would never have done such a thing. He explains in his back-patting new memoir that he specialized in keeping clients happy by identifying and then fulfilling their wildest dreams. As he says here: \'It’s only blarney if you can’t make it happen. If you can, then it’s the truth — and the truth is the supreme sales tool.\'
RaveThe New York Times Book Review\"[Minnis\'s] verse arrives well chilled. It is served with misanthropic aplomb ... Minnis is endlessly quotable, so one has to work hard not to quote her endlessly ... In Baby, I Don’t Care, one of the most unusual and persuasive books of poems I’ve read in some time, Minnis is not merely conducting a droll séance with the help of Turner Classic Movies ... [Minnis\'s] poems marinate in the sort of feelings you don’t like to admit you have. There’s a tang of Nietzsche in her antisocial desires, her amorality. Minnis is a bored, fierce, literate attendee at what the poet Frederick Seidel has referred to as \'life’s cotillion\' ... Let’s say you haven’t bought a book of poetry in some time. Baby, I Don’t Care and the reissues from Fence Books could make you come back. You could start here.\
RaveThe New York Times\"[In Evening in Paradise, there] is little if any diminishment in quality or intensity [of Berlin\'s work] ... One thing that makes Berlin so valuable is her gift for evoking the sweetness and earnestness of young women who fall in love ... Berlin is so stealthily funny ... Berlin probably deserved a Pulitzer Prize; she definitely deserved, to borrow the name of a Waylon Jennings song, a Wurlitzer Prize, for all the coins she drops into our mental jukeboxes. She has an instinctive access to the ways music can both provoke and fortify ... During her lifetime she was not published by that major house, or any other. She is now.\
PanThe New York TimesThere’s a good book lurking in this material ... The Feral Detective is not it. This one begins losing parts out on the interstate almost immediately. The plot is shaggy and complicated; so much so that even the author loses interest in it ... This novel’s tone is closer to that of Elmore Leonard. It’s got a bit of boogie in its bones. Yet it utterly lacks the density and sure-footedness of Motherless Brooklyn. A central problem is that Phoebe is a ditz ... Lethem never gives her anything impudent, urgent or surprising to say or think or feel ... Lethem is such a generous and ingenious writer that it’s painful to watch him flounder. Is it time to worry that literary novels will be among the next casualties of Trump Derangement Syndrome?
MixedThe New York Times\"Nothing in Bob Woodward’s sober and grainy new book is especially surprising. This is a White House that has leaked from Day 1. We knew things were bad. Woodward is here, like a state trooper knocking on the door at 3 a.m., to update the sorry details ... Fear is a typical Woodward book in that named sources for scenes, thoughts and quotations appear only sometimes. Woodward has never been a graceful writer, but the prose here is unusually wooden. It’s as if he wants to make a statement that, at this historical juncture, simple factual pine-board competence should suffice ... If this book has a single point to drive home, it is that the president of the United States is a congenital liar. I wish Fear had other points to make. I wanted more context, more passion, a bit of irony and certainly more simple history. Surely Woodward, of all people, has worthwhile comparisons to make between Trump and Richard Nixon. But this is not Woodward’s way. Fear picks up little narrative momentum. It’s a slow tropical storm of a book, not a hurricane. You turn the pages because Woodward, as he accumulates the queasy-making details, delivers on the promise of his title.\
MixedThe New York TimesRemember boredom, sweet boredom? John Kerry’s new memoir, like its author, is reserved and idealistic and reassuringly dull, for long stretches, in its statesmanlike carriage ... Every Day Is Extra is a booster shot of old school, small-l liberal values. It is bland the way upper-class food used to be bland. It reminds you why Kerry would probably have made a very good president. It also reminds you why he lost.
PositiveThe New York TimesLike a pair of pearl earrings from Tiffany’s, Bill Cunningham’s posthumous memoir arrives as if in a small blue box. It’s an unexpected gift ... Fashion Climbing is reminiscent of Archie comic books and moony teenagers sharing a malted milkshake in 1957 ... At times Fashion Climbing can seem like the most guileless thing ever written and its author slightly touched in the head, in a kind and upbeat \'Forrest Gump\' sort of way ... Fashion Climbing is poorly served by Hilton Als’s introduction, which is emotive... while not telling you any of the things you want to know.
PositiveThe New York TimesA Life of My Own, is on one level a phlegmatic tour of a fruitful life ... On another level, the book is one shock after another ... A Life of My Own has a formal quality. Occasionally there is the unhappy sense that Tomalin is viewing her own life from too great a distance, as if she were a biographer working through a stranger’s life from file cards. She is a fluid writer but not the sort to go in search of le mot juste. Original ideas and memorable turns of phrase are rare ... Yet there is genuine appeal in watching this indomitable woman continue to chase the next draft of herself. After a while, the pages turn themselves. Tomalin has a biographer’s gift for carefully husbanding her resources, of consistently playing out just enough string. When she needs to, she pulls that string tight.
MixedThe New York TimesChinen’s book opens big enough, with a volley of plunger-muted trumpets ... One can learn a good deal about a critic by noting his or her favorite words of approbation and disapprobation ... Things not to be, in Playing Changes, are \'formal,\' \'insular,\' \'boosterish,\' \'historicist,\' \'buttoned-up\' or \'dutifully self-conscious\' ... Most of these latter terms are pointed in the direction of the trumpeter Wynton Marsalis ... Marsalis’s brand of uptown jazz has long been at war with the downtown version, at least in the music press. Chinen revisits these battles. To a nonparticipant, from a distance, they seem faintly ridiculous ... The best way to read Playing Changes is with YouTube and Spotify fired up on your laptop. Chinen has excellent taste in unruly new sounds and big, bent ears, and you’ll want to make a playlist ... it’s hard not to get lost in the descriptive terminology in Playing Changes. You often feel you are floating free of context ... This book is at its best when grounded; when it mixes fact with more florid expression.
MixedThe New York TimesIt’s got a ripe theme for Kingsolver, an unabashedly political writer, to pluck — that is, how poverty looms today for so many middle-class families ... This book also offers, at times, the easygoing pleasures of Kingsolver’s voice. When she’s on, reading her sentences is like walking on crunchy leaves; her writing can be acute and funny ... Yet Unsheltered is dead on arrival. The historical sections are delivered in starchily ornate prose ... In the present-day sections, every other conversation threatens to become an op-ed piece or a humanistic monologue out of lesser John Steinbeck or Arthur Miller ... Kingsolver’s politics, in this case, sit on the chest of her fiction and asphyxiate it ... This novel reads as if its author has been sent here, like Spock aboard the Starship Social Progress, to affirm our principles. Kingsolver wants to feed us improving ideas, as if we were moral nestlings ... She has a good feel for human stuff, for the messes we make and how we clean them up.
Karl Ove Knausgaard, Trans. by Don Bartlett & Martin Aitken
PanNew York Times\"...a gift to his detractors, those who have found the books to be solipsistic and overwrought. At nearly 1,200 earnest pages, Book Six is a life-drainer, so dense and so dull that time and light seem to bend around it. I had to flog myself through it. I carried it under my arm like a football, giving the Heisman Trophy push-off to friends, family, basic hygiene, Netflix and the pets. When I finished, I felt there were fang marks in my neck; I wanted a blood transfusion. There are few books I will more avidly not read again ... Especially trying is Book Six’s 400-plus page excursus into Hitler and the etiology of the Third Reich. It is a grindingly sophomoric exercise that sits undigested under this novel’s skin, like an armchair inside a snake ... This book is the largest in the absorbing My Struggle series, but curiously it’s the runt of the litter.\
MixedThe New York Times\"This book, like a radio station whose frequency you can’t quite catch, keeps losing you. It keeps tipping over and then righting itself again, like a bottom-weighted inflatable unicorn. Lake Success keeps righting itself for many reasons. First among them is that Shteyngart, perhaps more than any American writer of his generation (he’s 46), is a natural. He is light, stinging, insolent and melancholy ... The wit and the immigrant’s sense of heartbreak—he was born in Russia—just seem to pour from him. The idea of riding along behind Shteyngart as he glides across America in the early age of Trump is a propitious one. He doesn’t disappoint ... This busy, squirming, roomy novel has a tidy ending, one that too neatly dispenses prizes and gives Barry a stab at redemption ... Is Barry hollow or is he holy? Shteyngart’s prose holds you in a way that Barry himself never does.\
MixedThe New York TimesCrudo is Laing’s slim first novel, and it’s less persuasive than her earlier work. Fiction, it seems, is a genre she’s still feeling her way into. This is a hard book to get a handle on ... In Acker fashion, Laing smuggles bits of text from other sources into Crudo, sometimes identifying these snippets as such but often not. (All citations are provided in an index.) ... Laing strikes some terrific chords in this novel ... Laing evokes the shattered, dreamlike quality of much of Acker’s work. Yet at moments the prose can be pretentious, verging on parody ... There’s a did-this, did-that quality to Crudo, a sense that everything matters yet nothing does, that can make one feel a bit ill, as if you’ve caught an intellectual and emotional flu, the way that being online too long can do. I suspect this was partly Laing’s intention.
PositiveThe New York TimesThey’re up there with the best things he did ... These books have flat-footed gravitas, a vestigial sort of swat that calls to mind Johnny Cash’s stark final records with the producer Rick Rubin ... Which isn’t to say they are not also full of guff. About a third of A Carnival of Losses is threadbare and meandering, memories of dead relatives and journeys abroad and anthologies past. But the other two-thirds are good enough to make clear that Hall did not live past his sell-by date as a writer ... Hall does not, in A Carnival of Losses, wield much of a cleaver. He does not clamor for the last word in old disputes.
RaveThe New York Times...so many minor moments of quotidian grace and wit...filter through The Cost of Living...that it is always a pleasure to consume ... [Levy] isn’t collecting her thoughts here so much as she is purposefully discollecting them. Calm and order, she suggests, are vastly overrated.
PositiveThe New York TimesKeith Gessen’s A Terrible Country feels small and tentative in its opening pages ... Gessen is a writer of spare sentences; he’s more of a Chekhov than a Nabokov. There’s little thunder, no off-piste mental excursions, no sense of a writer stropping his razor. His sort of plain writing is difficult to pull off. There is a fine line between elegant simplicity and mere meagerness. As this novel pushes forward, however, Gessen’s patience, his ability to husband his resources, begins to pay off. He introduces character after character—goalies and oilmen and comely academics, the heartbroken, the disinherited and the excluded—each of whom blooms in the mind. Which is another way of saying that this earnest and wistful but serious book gets good, and then it gets very good. Gessen finds an emotional tone for his material. He writes incisively about many things here but especially about, as the old saw has it, how it is easier to fight for your principles than live up to them ... This artful and autumnal novel, published in high summer, is a gift for those who wish to receive it.
PositiveThe New York TimesBecause this is a novel by the superabundantly talented Moshfegh—she’s an American writer of Croatian and Iranian descent—we know in advance that it will be cool, strange, aloof and disciplined. The sentences will be snipped as if the writer has an extra row of teeth ... Moshfegh is an inspired literary witch doctor ... This is a strong book but one that doesn’t advance our sense of Moshfegh as a writer. Her sensibility, you feel, is like a jewel that has yet to find its most advantageous setting. One never quite feels anything is at stake ... Moshfegh writes with so much misanthropic aplomb, however, that she is always a deep pleasure to read. She has a sleepless eye and dispenses observations as if from a toxic eyedropper ... Though this novel is set nearly 20 years ago, it feels current. The thought of sleeping through this particular moment in the world’s history has appeal.
Joe Mungo Reed
PositiveThe New York TimesIt’s one of the indices of Reed’s talent that you hotly flip this book’s pages even when there’s not a lot going on, when it’s just another hilly day on the tour ... Without pressing too hard, this novel proposes the peloton as a metaphor for marriage ... This novel derives its power from its limited focus and direct language. There are no adipose, word-glutted sentences. Reed is mostly content to give us strong silk thread, absent pearls ... Like a racer, Reed carefully husbands his resources in this ruthless little sports novel ... Reed cuts out distractions as if they were cancer.
Sayaka Murata, Trans. by Ginny Tapley Takemori
PositiveThe New York TimesIn Sayaka Murata’s Convenience Store Woman, a small, elegant and deadpan novel ... [a]n issue Murata leaves hanging, tantalizingly, is how deranged Keiko might or might not be. Clearly she longs for an authoritarian hand on her shoulder; she wants to know, at all times, what to do. (\'Hai!\') But in delineating her, Murata flirts with genuine darkness ... Convenience Store Woman is short, and it casts a fluorescent spell. Like a convenience store, it is chilly; it makes you wish you had brought a sweater. At the same time, it’s the kind of performance that leaves you considering the difference between exploring interesting topics and actually being interesting ... I have mixed feelings about Convenience Store Woman, but there is no doubt that it is a thrifty and offbeat exploration of what we must each leave behind to participate in the world.
Seymour M. Hersh
MixedThe New York Times Book Review\"The qualities that make Seymour Hersh a first-rate reporter—his hustle, his wonkiness, his nighthawk drive to unearth a radioactive fact and then top that fact—make him a second-rate memoirist. Like a greyhound or a kamikaze pilot or an insurance man peddling a policy, he’s not built for reflection ... If Hersh rarely seems quite human, neither does Reporter. He piles on the policy and deadline details while leaving people and their beating hearts mostly behind ... To be fair, Hersh does get his share of stories told. Battles with his journalistic ally and nemesis Abe Rosenthal, a legendary editor of The Times, are delightfully recounted ... So many of journalism’s old war dogs have left or are leaving us, and there’s a sense that we won’t get many more memoirs like this one. If this book’s pilot light isn’t fully lit, it still puts a big career across.\
RaveThe New York Times\"There There has so much jangling energy and brings so much news from a distinct corner of American life that it’s a revelation in a way that’s reminiscent of the best of Alexie’s early work. In terms of sheer brio and promise, its appearance marks the passing of a generational baton ... The story Orange tells moves cinematically in its second half, sweeping up all that came before. To film it properly would require a Robert Altman, a director with an unorthodox sense of spectacle. It might also require a director willing to tinker with Orange’s expedient Grand Guignol ending, one less willing to simply burn the set down ... It’s the close-up work that puts this novel across, however, the quotidian details of blasted lives. That Orange manages to link these details to a historical sense of outrage at how America has treated its native people, in a manner that approaches scarifying essay without dropping over the fence into lecture or sociology, adds to this novel’s smoke ... Orange is especially interested in what cultural inheritance means, in how to carry your roots like a conscience, in what one needs to leave behind and what one needs to take ... There There has its soft spots. At times it veers toward the sentimental; it can lean too heavily on its themes. There are perhaps too many resonant generalities about the importance of storytelling. But the real stuff is here, a sense of life as it is lived, an awareness of the worm inside each bottle of mezcal.\
Julia Van Haaften
MixedThe New York TimesThe last quarter of this book is primarily made up of the honors Abbott received, and is a slog that even Jackie Onassis flying up to see her on a private plane cannot redeem. Van Haaften can’t help but type up every detail...so much so that you lose a bit of your goodwill toward the earlier portions of the book. This is a less than perfect biography in other ways. The author is better on the trees than the forest, and as a writer she is sometimes flat-footed. The narrative has a tendency to skip around in time. But Van Haaften has done her research, the real work, and the pages turn themselves.
RaveThe New York Times\"She has that ability, unique to the great performers in every art form, to hold one rapt from the moment she appears ... As trilogies of recent vintage go, these books strike me as a stark, modern, adamantine new skyscraper on the literary horizon. One can recognize Cusk’s achievement, and admire the crisp workings of her mind, while still deploring the slight increase, as this trilogy has gone on, in oracular and overblown statements ... Cusk provides sly commentary on the notion that she’s writing anything that resembles a diary. She puts the words, of course, in anyone’s mouth but Faye’s, reminding us once again that it’s not what people say but what one hears that matters.\
MixedThe New York Times\"Warlight reads, at its not-infrequent best, like a late-career John le Carré novel. It hooks you in ways that make its quiet storm of bombast almost possible to bear ... Warlight moves at a clip that, in Ondaatje terms, can be said to be breakneck. He writes well about all sorts of things, from British private schools to river navigation to how large restaurants operate. He’s a devotee of curious detail. This story is, however, told at a distance ... There’s an unpleasant sense that Ondaatje is regaling us rather than simply putting across a story. In his overweening interest in secrets and tall tales, in his relish for how stories are told, he’s taken the Salman Rushdie exit off the Paul Auster turnpike ... his burnished, lukewarm sentences don’t snap to life like the people he enjoys. Reading him on these scruffy men and women is like listening to someone try to play \'Long Tall Sally\' on solo cello. It’s not awful, but it’s weird.\
PositiveThe New York Times\"Young is a maximalist, a putter-inner, an evoker of roiling appetites. As a poet of music and food, his only rival is Charles Simic. His love poems are beautiful and sexy and ecstatic ... Young’s new book, Brown, is vital and sophisticated without surpassing anything he’s done before. It’s a solid midcareer statement ... Young has long been investigating the lives, art and lingering meanings of black cultural figures. He seems to know everything and everyone.\
RaveThe New York Times\"...[an] earthy and philosophical and essential new novel ... [Motherhood] floats somewhere between fiction and nonfiction. It reads like an inspired monologue, delivered over a kitchen table, or the one Spalding Gray sat behind in Swimming to Cambodia. Not a lot happens, yet everything does ... This book is endlessly quotable, and a perfect review would be nothing but quotations. She makes a banquet of her objections to parenthood. If you are an underliner, as I am, your pen may go dry.\
PositiveThe New York Times\"Kushner’s portrait of life inside the women’s prison is grainy and persuasive. It’s all here: the lice treatments, the smuggling of contraband in rectums and vaginas, the knifings, the cliques, the boredom, the heinous food ... Kushner smuggles her share of humor into these scenes. Like Denis Johnson in Jesus’ Son, a book this novel references, she is on the lookout for bent moments of comic grace ... If these prison scenes have a flaw, it’s that Kushner has clearly done so much research that it weighs her down a bit. It’s as if she feels compelled to report everything she’s learned. The Mars Room is a major novel, a sustained performance, one that broods on several exigent ideas ... The Mars Room moves cautiously and slowly. It prowls rather than races. It is like a muscle car oozing down the side roads of your mind. There are times when you might wish it had more velocity, more torque, yet there are reasons it corners cautiously.\
Tracy K Smith
RaveThe New York Times\"Smith’s new book is scorching in both its steady cognizance of America’s original racial sins — open wounds that have had insectlike eggs repeatedly laid in them — and apprehension about history’s direction ... Wade in the Water is pinned together by a suite of found poems that employ near-verbatim the letters and statements of African-American Civil War veterans and their families. These historical poems have a homely, unvarnished sort of grace ... If this new book lacks some of the range and depth and allusiveness of that earlier book, well, she has battened down certain hatches.\
Jeff Benedict & Armen Keteyian
RaveThe New York Times\"...a confident and substantial book that’s nearly as sleek as a Christopher Nolan movie. It makes a sweet sound, like a well-struck golf ball. I found it exhilarating, depressing, tawdry and moving in almost equal measure ... This book is littered with the bodies of those Woods cut out of his life without a thank you or goodbye — girlfriends, coaches, agents, caddies. If you stripped most of the golf out of this book, you might sometimes think you are reading the biography of a sociopath, a nonmurderous Tom Ripley or Patrick Bateman or Svidrigailov from Crime and Punishment ... This intense book gives us Woods’s almost mythical rise and fall. It has torque and velocity, even when all of Woods’s shots, on the course and off it, begin heading for the weeds.\
PositiveThe New York TimesThere’s some scrapbook-like bloat. The world would have continued, for example, without the review, written for Moore’s college literary magazine, of Nora Ephron’s Heartburn ... More significantly, although Moore is hardly a pushover, there’s less crack in her whip than some readers (well, me) might like ... In her reviews of fiction (by Margaret Atwood, Joan Silber, Bobbie Ann Mason, Philip Roth, Stanley Elkin and Richard Ford, among many others), she has great feelers ... Had she wanted, Moore could have had an important career as a theater or television critic ... When writing teachers pass this book to their students, the title See What Can Be Done will be read as a simple command.
MixedThe New York Time\"This material has been hashed over many times in previous books, and in the first half of The Recovering Jamison brings little that’s new to this discussion. You frequently feel you’re reading filler; mental sawdust. The first half is off-putting in other ways. Jamison is close to humorless as a writer, and she rubs and rubs our noses in her bad-girl bona fides ... The great surprise of The Recovering is that the second half is close to magnificent, and genuinely moving. This is that rare addiction memoir that gets better after sobriety takes hold ... Inside the 500-plus pages of The Recovery is a shorter, finer book and maybe even a screenplay awaiting someone. In this case I am not entirely unhappy to have taken the long way home.\
Mario Vargas Llosa, Trans. by Edith Grossman
MixedThe New York TimesNo deep soil is overturned in The Neighborhood, but two things keep one turning the pages. For one, it’s a confident book and confidence is contagious. It’s filled with cliffhangers...and over-the-top incident. For another, it is warm to the touch, particularly as regards sex ... In The Neighborhood, the sex is hot and the beer is cold ...They eat at a seafood place called Seven Deadly Fins. In a novel as contrived and uneven as this one, the human touches go a long way.
PositiveThe New York TimesBuruma casts an emollient eye over the multiple and overlapping ways that he felt like an outsider in Japan. He often received special treatment as a gaijin, but just as often it was made clear to him that he would never get as close to this culture as he wanted ... Buruma is a keen observer and the owner of a well-provisioned mind. There are smart little junkets in this book into everything from Japanese movies...to the country’s tattooing culture ... His prose is unflaggingly good ... For a book that is largely about extreme experience, in terms of art and life, he is perhaps overly discreet about his own emotions and behavior. Whenever you sense he is about to open a door, he instead drops you at the curb.
MixedThe New York TimesThe best of [Coover's] stories are now collected in Going for a Beer ... When Coover’s stories don’t work, which is about half the time even here, they’re dreadful ... But when they work, oh my ... The sensation is that of being in an astounding if disturbing movie, in which you are the only human with a ticket ... A handful of Coover stories is probably enough for me. A slimmer volume than this one might be a portable classic.
MixedThe New York TimesHollinghurst writes long, absorbing, much-peopled novels that display a masterly grasp of psychological processes and a prickling awareness of minute betrayals and inarticulate desires. His sensibilities are so fine you sense he can detect a pea beneath 20 mattresses when it comes to failures of tact, poise and discernment ... Of course the sex writing is good. Sometimes it’s brutal, other times fond and funny ... The truth about The Sparsholt Affair is that it is not among this writer’s more successful novels. It is intricately patterned on the sentence level yet moves tentatively, at the rate of afternoon sunlight creeping across a floor ... You feel you are watching impeccable B-roll or a John le Carré novel without bad guys or an important work of theater as seen from 300 yards away. Your mind rates this book rather highly; your heart gives it only two stars. You come to regard it with respect but not ecstasy.
PanThe New York TimesSpeak No Evil is a muted, minor-chord novel. The trip to Nigeria and a startling moment of racial violence late in the book aside, it is a fairly mild and conventional gay coming-of-age novel ... It’s a book about race and gender and identity but not an especially telling book about those things ... There are moments in this novel that hint at Iweala’s freer, more essayistic voice. He is probing on how, back home in Nigeria, Niru’s father is a different man — larger and louder, he seems to take up more space ... Not enough scenes are this alive. Like so many second novels, this one feels like a book Iweala had to get out of the way in order to arrive at what he really wants to write next.
RaveThe New York Times\"...[a] dry, allusive and charming new novel ... The writing profession, in The Friend, is viewed as a series of little murders of the soul. Writers are weird, jealous, greedy, backbiting, warped from the undersea compression of competition in Manhattan ... The Friend is thick with quotations and anecdotes from the lives and work of many writers, in a way that can recall the bird’s-nest-made-of-citations novels of David Markson. Nunez deals these out deftly; they do not jam her flow. The snap of her sentences sometimes put me in mind of Rachel Cusk.\
PositiveThe New York Times\"...like a brisk day on the cross-country trails. She writes a good deal about art and gardens and travel, and about non-controversial — at least for her New York Review of Books readers — topics like libraries (good) and global warming (bad). In the best of these pieces, however, Smith presses down hard as a cultural critic, and the rewards are outsize ... For six months, Smith was a book critic for Harper’s Magazine, and the results are printed here. These reviews are a mixed bag, mostly because the titles seem random and often infra dig. She’s penetrative, however, on the Mitfords and Edward St. Aubyn and Paula Fox and the essayist Geoff Dyer.\
PositiveThe New York Times\"Amis’s new book, like the collections that preceded it, is the product of a ferocious yet sensitive mind. Even when he is considering writers he’s assessed many times before (Saul Bellow, Philip Larkin, John Updike, Christopher Hitchens), his aim is so unerring that he resembles a figure out of Greek myth, firing arrows through ax-heads lined up in a row.\
Ahmed Saadawi, Trans. by Jonathan Wright
RaveThe New York Times\"What follows, in this assured and hallucinatory story, is funny and horrifying in a near-perfect admixture. Funny because Saadawi wrings a good deal of black humor out of the way the monster’s pieces fall off at inopportune moments ... Saadawi’s tone can be sly, but his intentions are deadly serious. He’s written a complex allegory for the tribal cruelties in Iraq in the wake of the American invasion. His book is especially moving about women who have lost their sons and husbands, and who wonder if they are alive and will ever return ... Saadawi blends the unearthly, the horrific and the mundane to terrific effect ... You get the sense, throughout Frankenstein in Baghdad, that Saadawi’s creature, alive with malevolent intelligence, is feeding off its own destructive energy. The reader feeds off it as well. What happened in Iraq was a spiritual disaster, and this brave and ingenious novel takes that idea and uncorks all its possible meanings.\
RaveThe New York Times\"The Largesse of the Sea Maiden picks up, to a large extent, where Jesus’ Son left off. Only a few characters recur, but these are essentially the same unlucky bipeds, sometimes glimpsed a few decades later. Their friends are dying and their own bodies have begun to betray them ... The stories in The Largesse of the Sea Maiden are not as cohesive or as plangent as those in Jesus’ Son. This is a lesser book, but only in the sense that the best later Sinatra records were lesser than In the Wee Small Hours, or that Neil Young could not in later decades recapture the mood of After the Gold Rush or Tonight’s the Night. These stories drift, but Johnson finesses his way through them, his prose vernacular and elevated at the same time. One can say about this book what one narrator says about the poems of a writer he loves: \'They were the real thing, line after line of the real thing.\'”
PanThe New York TimesFire Sermon is, in other words, one of Quatro’s short stories extended to novel length. Yet somehow this saga lacks a novel’s amplitude. The narrator, Maggie, is a writer. Even she seems aware that this thin if fervid book brings little that’s fresh to the theme of illicit sexual desire ... Maggie conflates sexual and religious desire, sometimes to memorable effect. More often, these meditations set off the pretentiousness alarm that rests, like a smoke detector, at the top of one’s mind. You may finally have to cover the thing with plastic wrap and a rubber band ... There’s real humanity in this novel, and there are insights about love and longing. Quatro is a gifted writer. But Fire Sermon ultimately reminds the reader of Emma Bovary’s observation that there is 'in adultery all the banality of marriage.'”
RaveThe New York Times\"Winter is an insubordinate folk tale, with echoes of the fiction of Iris Murdoch and Angela Carter, that plays out against a world gone wrong ... If I’d rank Winter a notch below Autumn in terms of its cohesion and pure witchy cerebral power, there are few writers on the world stage who are producing fiction this offbeat and alluring...Finally, each of these books has an elastic structure, one that allows Smith the freedom to write as if improvising a bedtime story. The combination of dreaminess and acuity is what gives these books their tang ... Smith does not wear her politics as lightly in Winter as she did in Autumn. There is perhaps one speech too many about how we are all in this world together. This novel takes more patience than did Autumn; it’s slower to rake its themes into a coherent pile. My advice: Read it anyway.\
A.R. Ammons & Robert M. West
PositiveThe New York TimesHere now is The Complete Poems of A. R. Ammons in two slab-like volumes. It’s a rocking double-wide mobile home of electric American verse. The cube-like density of these books is imposing until you open the screen door … On the most bedrock level, Ammons was a nature poet. Daily he was out amid the moss and grackles and the zucchini vines and the roadkill. He didn’t issue ‘cry of the loon’ writing, however, to borrow an old New Yorker magazine put-down of overwrought nature prose … Ammons carries you along because as he vamps, like a musician, there’s a sense of drama, of his mind expanding and contracting. He will hit his groove and deliver a string of intensities. Then he will pull back because the beauty is too much; he’ll wait for the next moment to strike.
PositiveThe New York TimesThis novel’s themes are echt Shepard: fathers and sons; shifting identities and competing versions of reality; a sense that there are watchers and there are watchees in this world of dusty gravitas. The setting is the American West. The prose is taciturn. The pronouns have vague antecedents. The book is cryptic and pretentious. It is also sly and revealing ... But this novel is not simply a burnt offering, a Baedeker of dread and decay. There is a kind of parched humor as well ... Spy of the First Person did not begin to fully hold my attention until its midpoint. Several things start to happen. The novel begins to overspill its tight borders. There is an increasing, slashing awareness of not merely one human but a world in distress ... There are echoes of Beckett in this novel’s abstemious style and existential echoes. Our little bands will come apart.
PositiveThe New York Times...a powerful and outrage-making if somewhat academic analysis of the forces that have made West Virginia one of the sorriest places — statistically, at any rate — to live in America ... Ramp Hollow is not Hillbilly Elegy redux. Stoll does not relate his own story, and his book is not especially warm to the touch. But as economic history it is gravid and well made ... Stoll clings to a different vision of what the United States could be. His book becomes a withering indictment of rapacious capitalism.
MixedThe New York Times Book ReviewLouise Erdrich’s quietly apocalyptic new novel, Future Home of the Living God, isn’t about a plague, exactly. But something sinister is happening to our blue planet ...a feverish and somewhat feeble novel. Erdrich’s heart isn’t really in her dystopian visions, and this novel’s scenes of chases and escapes are hokey and feel derived from films ... To read this novel is to wade through a great many solemnities...funny thing about this not-very-good novel is that there are so many good small things in it ...her sentences can flash with wit and feeling, sunbursts of her imagination ... Signs and portents, auguries and premonitions. Erdrich’s novel is packed with them, push notices from an onrushing nightmare.
Cristina De Stefano, Trans. by Marina Harss
MixedThe New York TimesIt’s the first authorized biography we have of Fallaci, with access to new personal records, and welcome for that reason. It is not particularly well-written or thoughtful but it gets her story onto the page and, thanks to its subject, is never dull.
RaveThe New York Times\"Hagan has delivered a supple, confident, dispassionately reported and deeply well-written biography. It’s a big book, one that no one will wish longer, but its chapters move past like a crunching collection of singles and not a thumb-sucking double album. It’s a joy to read and feels built to last. Hagan is among those relatively rare biographers who keeps macro and micro in yin-yang balance ... Sticky Fingers is about promises and promises betrayed, and about how Wenner’s life — his increasing obsession with fame and a plutocratic lifestyle — reflected both ... Come for the essayist in Hagan, stay for the eye-popping details and artful gossip ... After Wenner himself, Annie Leibovitz is the most fully realized character in this biography. She comes across as an endearing wild child, sleeping with some of her subjects, abandoning rental cars in haste at airports and becoming, Hagan writes, a \'full-blown drug addict whose body was, more than once, unceremoniously dumped in front of a hospital by her dealer\' ... In scorning Hagan’s work, Wenner’s editorial antennae have failed him. He had the nerve to select a writer and not a hagiographer, and the decision, at the end of his long career, looks good on him.\
Elizabeth Hardwick, selected by Darryl Pinckney
RaveThe New York TimesAs this new anthology of her work demonstrates, she had fresh eyes, quick wits, good feelers and was murderously well-read ... To move one’s way through Hardwick’s essays is to bump into brightness on nearly every page ... This collection is a miscellany, but potent themes emerge. Hardwick took a special interest in the literature of New York City. She was incisive on Wharton and Henry James in New York, and also on the see-saw lives of the novelists and critics of her own generation ... I undervalued her. This book put me straight. Hardwick was a landmark American critic, with a George Orwell-like gift for candor. Like Orwell, her cardinal humors were essentially tolerant. Her dudgeon rose only when something vital was at stake. Her essays have novelistic density; they are a thoroughgoing pleasure.
PositiveThe New York TimesThere is bad and good news about Fresh Complaint. The bad news is that there’s nothing especially intense or inventive here, no sign that short fiction is the fertile row Eugenides should have been hoeing all along. The good news is how solid these stories are anyway. Two or three are excellent; none are total misses. Line by line, paragraph by paragraph, Eugenides writes like a man who is enjoying himself. The feeling is contagious ... Many of Eugenides’s short stories are about mental self-mutilation. He writes with elegiac wit about middle-class, mostly educated men and women whose lives have begun to grind them down ... This book delivers many small corkscrews of feeling. For all of its interest in failure and misbehavior, it is threaded with a strong moral sensibility. Eugenides’s miserable bipeds want to behave well but there are so many obstacles in their way ... Eugenides has written life-altering books of that sort, and Fresh Complaint isn’t one of them. But its charm and insight are real, and formidable.
PositiveThe New York Times...a dreadnought of a World War II-era historical novel, bristling with armaments yet intimate in tone. It’s an old-fashioned page-turner, tweaked by this witty and sophisticated writer so that you sometimes feel she has retrofitted sleek new engines inside a craft owned for too long by James Jones and Herman Wouk ... How to search for a body underwater, how to facilitate your rescue if lost and drifting at sea, how to run a nightclub, how to bribe a cop, how to care for an invalid — you learn things while reading this novel. Egan’s fiction buzzes with factual crosscurrents, casually deployed ... Egan is a generous writer. She doesn’t write dialogue, for example, so much as she writes repartee. Many writers’ books go slack when their characters open their mouths, as if dullness equals verisimilitude. Egan’s minty dialogue snaps you to attention ... If I have a complaint about Manhattan Beach, it’s that while Egan is in full command of her gifts, there’s only rarely a sense that she’s pushing herself, or us. This novel is never estranging. It never threatens to overspill its levees, or to rip us far from shore and leave us there for a while. Egan works a formidable kind of magic, however. This is a big novel that moves with agility. It’s blissfully free of rust and sepia tint. It introduces us to a memorable young woman who is, as Cathy longed to be again in Wuthering Heights, 'half savage and hardy, and free.'”
RaveThe New York TimesWhile little happens in Outline, everything seems to happen. You find yourself pulling the novel closer to your face, as if it were a thriller and the hero were dangling over a snake pit. This is largely because the small conversations and monologues in Outline are, at their best, as condensed and vivid as theater … The narrator is mostly a listener, an asker of questions, an intellectual filter. Posing meaningful questions to others, or even unmeaningful ones, she correctly observes, is a skill that ‘many people never learn’ … Ms. Cusk marshals a lot of gifts in this novel, and they are unconventional ones. With no straightforward narrative to hang onto, no moving in and out of rooms, she’s left with the sound of her own mind, and it’s a mind that is subtle, precise, melancholy. This is a novel with no wasted motion.
Loudon Wainwright III
RaveThe New York TimesInstead of inventing a mythos, Wainwright simply wrote some excellent songs — rich, complicated, sometimes dorky, marked by unexpected wordplay and often surprisingly dark. His new memoir is all of these things, too. It’s a funny, rueful thing to consume. Wainwright has hurt most of the people he’s loved, and he’s loved some remarkable people. He’s written fond and sometimes acid songs about them; they’ve returned serve ... Wainwright does not go easy on himself in this book. In typically memorable prose, he describes how he got into 'the nasty and destructive habit of picking up women after shows, bringing a sort of love hostage back to the hotel room, a raunchy token of esteem.' He’s jealous of the success of others in his family. He likes reading his own good reviews and other people’s bad ones. He describes ogling women while doing laps at his local pool. He’s a stinking, traitorous cretin. And yet, as he woos his memories back, there’s a great deal of fondness in this book, too. Like the best songs of the Wainwright-McGarrigle-Roche clan (Rufus has a child with Leonard Cohen’s daughter, Lorca, so this dynasty may still be in its infancy), this straightforward book makes your heart wobble on its axis. And it sends you back to the songs.
MixedThe New York TimesMr. Vásquez’s novel is a kind of languid existential noir, one that may put you in mind of Paul Auster. Hot things are evoked in cool prose. Everything is, in Miles Davis’s terms, kind of blue … Mr. Vásquez is an estimable writer. His prose, in this translation by Anne McLean, is literate and dignified. Fetching images float past. We read that ‘a friend’s house smelled of headache.’ And that Elaine has never slept with anyone who ‘didn’t have orgasms in English’ … The plot can seem overdetermined. I turned the pages with interest — Mr. Vásquez is a gifted writer — but without special eagerness. He sometimes seems more interested in poetic generalities than in squirming people.
RaveThe New York TimesThese sentences — well made, revealing and funny — are typical of Mendelsohn’s book. What catches you off guard about this memoir is how moving it is. It has many complicated things to say not only about Homer’s epic poem but about fathers and sons. If you have not read the Odyssey, or have not read it since you were 30 pounds lighter and regularly wore sandals, this is a rich introduction or reintroduction. Mendelsohn makes Homer’s epic shine in your mind ... Homer composed the Odyssey in dactylic hexameter, the six-beat meter that gives the poem its elevated oom-pah-pah, oom-pah-pah cadence. Mendelsohn’s cadences in An Odyssey are softer and fonder, but there’s a brisk undercurrent. You feel you’re reading the literary equivalent of a Rodgers and Hart song ... he’s written a book that’s accessible to nearly any curious reader. In her memoir Slow Days, Fast Company, Eve Babitz remarks that 'early in life I discovered that the way to approach anything was to be introduced by the right person.' For Homer, that person is Daniel Mendelsohn, and this blood-warm book.
MixedThe New York TimesEach sentence in it is a Cirque du Soleil leap into a net that only he can see. Each sentence seems to be composed of stardust, pixie dust, fairy dust, angel dust, fennel pollen and gris-gris powder, poached in single-udder butter, fried and refried, encrusted with gold as if it were a Gustav Klimt painting, and then dotted with rhinestones ... The effect is exhausting — and deadening. Anything can happen, so nothing matters. Rushdie is obsessed with 'characters,' as Alfred Kazin once said of John Irving, yet somehow does not evoke the more difficult thing: character. There is a reason to consider sticking with all 380 pages of The Golden House, however. It has little to do with the novel’s plot ... In Trump, Rushdie finds such a perfect villain that he finds it hard to let him go. The Trump character is named Gary 'Green' Gwynplaine, a wealthy vulgarian, born with green hair, who likes to refer to himself as the Joker. About this Joker, and about the threat he poses to an America this writer loves, it’s a treat to watch Rushdie let fly ... The Golden House has been billed by its publisher as Rushdie’s return to realism. Yet the New York City on offer is so gilded and remote that the novel reads like what one’s impressions would be if all one knew of it came from back issues of Vanity Fair magazine ... The Golden House is a big novel, wide but shallow, so wide it has its own meteorology. The forecast: heavy wind.
John Le Carré
PositiveThe New York TimesThe good news about A Legacy of Spies is that it delivers a writer in full. Le Carré’s prose remains brisk and lapidary. His wit is intact and rolls as if on casters. He is as profitably interested as ever in values, especially the places where loyalty, patriotism and affection rub together and fray. He wears his gravitas lightly ... There’s a distant oink of male chauvinism in this tweedy novel, one that goes beyond establishing the sexual atmosphere of swinging ’60s-era Britain ... Le Carré is not of my generation but I have read him for long enough to understand how, for many readers, his characters are old friends — part of their mental furniture. There’s something moving about seeing him revive them so effortlessly, to see that the old magic still holds. He thinks internationally but feels domestically. In an upside-down time, he appeals to comprehension rather than instinct. I might as well say it: to read this simmering novel is to come in from the cold.
MixedThe New York TimesA Constellation of Vital Phenomena is set against the tangle of wars, occupations and insurgencies that have racked Chechnya since the early 1990s. It hews to the historical record...As such, Mr. Marra’s novel can be sickening reading … In A Constellation of Vital Phenomena Mr. Marra introduces us to exuberant characters, only to shuffle them into the wings for chapters at a time. Tension is rarely allowed to build. The grease of human existence is kept from plausibly accumulating. I disliked the sensation that I was reading a feat of editing as much as a feat of writing. I admired this novel more than I warmed to it.
MixedThe New York Times...there’s a void in The Burning Girl. That void is the absent sound of Messud’s sophisticated and unfettered voice. This novel is small and soft, pensive and diffident. It sneaks in, and out again, as if on cat’s paws. In composing it from the perspective of a 12-year-old girl, the author underwrites so thoroughly that she mostly blots out her own sun. Her virtuosity is in retreat. We burn our retinas on a self-eclipse ... Messud writes with insight about how female friendships dissolve, and about things like how terrifying certain stray glimpses of adult life can be. But The Burning Girl is an oddly distant novel. Its tone is formal and ultimately unconvincing ... This is the first of Messud’s novels that didn’t, on a regular basis, flood my veins with pleasure. It’s the first Messud novel I might have, if I could have, put down before the end. It’s a common book by an uncommon writer.
RaveThe New York Times...[an] ingenious and love-struck novel ... This novel may seem to wobble in the minutes after its landing gear retracts. There are lurching shifts of tone as it moves between matters of the heart and of state. Do not panic. Order something from the drinks cart. Shamsie drives this gleaming machine home in a manner that, if I weren’t handling airplane metaphors, I would call smashing ... Home Fire builds to one of the most memorable final scenes I’ve read in a novel this century.
PanThe New York TimesThis novel is a big machine, and Dee drives it calmly, like a farmer inside the air-conditioned cockpit of a jumbo tractor pulling an 80-foot cultivator. He drives it perhaps too calmly. He has the intelligence to pull off a novel of this size but lacks, somehow, the killer instinct — the ability to move in for intensities of feeling and thought and action. He’s written a lukewarm book that seems far longer than its 383 pages. Consuming it is like being in one of those frustrating dreams in which you run and run but don’t go anywhere ... there are too many lumpy homilies in The Locals, sections that read like monologues from lesser Arthur Miller plays.
MixedThe New York TimesThe author sugarcoats nothing about her ordeal and the damage done. But her memoir seeks to evoke, in a way few before it have, the transgressive rush some might find in taboo sexual behavior ... This is a book about heat rather than coolness. It is about incandescent libido and the charring that is a result. Among the many disturbing things about The Incest Diary is a sense that the author is working to turn the reader on, too ... The prose in The Incest Diary is clear and urgent. This is not a major book but it has genuine intensities of thought and feeling. I was never happy to be reading it. You may feel that your face is being rubbed too repeatedly in a certain kind of mud ... This book offers more sensation than perspective. The author’s scalded and mixed emotions are best summarized by these two sentences: 'I want him to think that I’m sexy. And I want to savagely mutilate his body and feed his corpse to dogs.'”
Svetlana Alexievich, Trans. by Richard Pevear & Larissa Volokhonsky
MixedThe New York TimesThe author unearths a mostly buried aspect of Russian history. There’s a great deal that’s moving and memorable about the hardships described. But it’s possible to read this book and have reservations about it ... Many of the author’s interviews, in this book and others, are repetitive in their facts and their tone. An original voice is rare. Is Alexievich a gifted, probing interviewer? It’s hard to say. Her own questions are rarely included ... It’s possible to hold these reservations in mind and still recognize a kind of greatness in the amplitude of Alexievich’s project ... The shock and sadness in The Unwomanly Face of War are, at times, crushing. You may wind up feeling like the young female soldier Alexievich interviews who says, 'We no longer wept, because in order to weep you also need strength.'”
RaveThe New York Times...[a] concise and thoughtful new biography ... It’s among the satisfactions of Begley’s The Great Nadar: The Man Behind the Camera that he delivers a subtle accounting of Nadar’s career as a photographer while reminding us of his subject’s many other talents and exploits ... It’s remarkable that Begley’s is the first [biography] in English. He’s found a great life to delineate — this book, like that life, roars past with a whooshing sound ... This story, in other words, would be hard to mangle, and Begley most assuredly does not.
PanThe New York TimesMadeleine Blais has written a strange book. In part it’s a tour of the island’s faux-casual charms, and as such it’s threaded with mindless chitchat of the sort you find in the TripAdvisor comments section ... Most notably, perhaps, as its title hints, To the New Owners is a steaming load dropped on the author’s former doorstep, a book-length act of revenge, a cleat-hitch slap that will reverberate up and down the Eastern coastline ... Everyone feels possessive and sentimental about the houses they occupy, even summer rentals. But Blais squanders what sympathy we might have, the way those noisy spinning extractors force the water out of swimsuits.
PositiveThe New York Times...an ebullient, freewheeling historical fiction ... Its action is so vivid that you seem to be consuming (imagine Wolf Blitzer’s voice here) breaking news. Delirious storytelling backfilled with this much intelligence is a rare and happy sight ... he’s written a high-level entertainment, filled with so much brio that it’s as if each sentence had been dusted with Bolivian marching powder and cornstarch and gently fried. Some of this swashbuckling action goes over the top, but you will probably be turning the pages too quickly to register a complaint.
MixedThe New York Times...an earnest and surprisingly generic children-in-jeopardy novel, one that makes few demands on us and doesn’t deliver much, either ... These women and their husbands aren’t distinct characters; they’re upper-middle-class types. The crunchy details, the chili-rub and panko crust that would bring them to life, are absent ... Meloy’s portrait of well-meaning but still ugly Americans resonates. So does her depiction of a certain kind of mental state.
MixedThe New York TimesAs a writer, Alexie wears his heart on his sleeve, his spleen in a go-cup and his cranium in a sleek postmodern headdress. He can be powerfully direct and plain-spoken. He speaks, for example, of hatred that 'felt as ancient as a cave painting.' He picks up many darkly interesting topics, such as anti-Indian racism delivered by Native Americans themselves. He can also be vivid and very funny ... His sentences often seem composed for the ear rather than the mind. You Don’t Have to Say You Love Me has a talky, baggy quality, especially in its second half. What begins as speech ends in filibuster ... Like so many writers, and humans of all stripes, however, Alexie is a Möbius strip of self-loathing as well as egomania. As if to pre-empt criticism of his memoir, Alexie also speaks more than once about how he is famous, in his family, as a serial stretcher of the truth. Yet it’s a genuine drawback of this memoir that so little feels reported out and pinned down. The reader vaguely trusts Alexie emotionally. Factually? Hardly at all.
RaveThe New York TimesLacey’s sentences are long and clean and unstanchable. They glow like the artist Dan Flavin’s fluorescent light tubes. In her new novel, The Answers, she sweeps you up in the formidable current of her thought, and then she drops you down the rabbit hole. She’s the real thing, and in The Answers she takes full command of her powers ... This is a novel of intellect and amplitude that deepens as it moves forward, until you feel prickling awe at how much mental territory unfolds ... it’s a neuronovel that floods with tangled human feeling. Like Margaret Atwood’s The Handmaid’s Tale, it’s also a novel about a subjugated woman, in this case not to a totalitarian theocracy but to subtler forces its heroine is only beginning to understand and fears she is complicit with ... It comes to be a meditation on fame and art as well as love. A suspension of disbelief will sometimes be required. Lacey makes you happy to submit. She casts a spell.
PositiveThe New York TimesThe Descent of Man is a short book that remixes a good deal of academic feminist thinking about braying masculinity. Little in it is truly original. But Perry has a quick mind and a charming style of thrust and parry. He’s a popularizer, an explainer, a stand-up theorist. His book is as crisp and tart as a good Granny Smith apple ... Even at fewer than 150 pages, The Descent of Man is too long. In the last third Perry is reduced to stating poorly what he said well earlier in the book. He’s begun to twist a dry sponge. But when he’s on, which is frequently enough, Perry is an eloquent and witty tour guide through the fun house that is modern masculinity. He wants us guys to be weirder, freer, less predictable. He’s just the man for the job.
RaveThe New York TimesThe Flamethrowers unfolds on a bigger, brighter screen than nearly any recent American novel I can remember … The Flamethrowers is a coming-of-age novel of a sort, one that has dozens of topics on its mind: speed and sex, reality and counterreality, art and intellect, politics and fear and perhaps, above all, ‘the fine lubricated violence of an internal combustion engine’ … Reno is a persuasive and moving narrator because Ms. Kushner allows her the vulnerability and fuzzy-mindedness of youth while rarely allowing her to think or say a commonplace thing … Ms. Kushner has long since burned down whatever resistance you might have toward her talent or her narrative.
RaveThe New York TimesMr. Lerner is among the most interesting young American novelists … In 10:04, he’s written a striking and important novel of New York City, partly because he’s so cognizant of both past and present. He’s a walker in the city in conscious league with Walt Whitman, but also with writers up through Teju Cole, whose protagonists are wide-awake flâneurs … At one point in 10:04, the narrator is having dinner with his agent...He tells her he hopes his novel will be, on some level, ‘a long list of things that quicken the heart.’ At this he has succeeded perfectly.
RaveThe New York Times… one of the most graceful and moving nonfiction books I’ve read in a very long time … Ms. Skloot, a young science journalist and an indefatigable researcher, writes about Henrietta Lacks and her impact on modern medicine from almost every conceivable angle and manages to make all of them fascinating … Ms. Skloot writes with particular sensitivity and grace about the history of race and medicine in America…[and] makes it abundantly clear why, when Henrietta Lacks’s family learned that her cells were still living, the images that ran through their minds were straight out of science-fiction horror movies … The Immortal Life of Henrietta Lacks is also, from first page to last, a meditation on medical ethics — on the notion of informed consent, and on the issue of who owns human cells. When they’re in your body, it’s obvious — they’re yours. But once they’ve been removed? All bets are clearly off.
PositiveThe New York TimesShe injects whimsical imagery into weightier reveries in a manner that can make your head, like the unlucky little girl’s in The Exorcist, perform what in ice skating they call a double axel. Lockwood’s prose is cute and dirty and innocent and experienced, Betty Boop in a pas de deux with David Sedaris. When her stuff is good, it is very good...When her attention drifts, as it sometimes does in her memoir, the kookiness wears. Each sentence is its own quirky cameo appearance ... Lockwood manages to make her father not only more complicated than he seems, but also oddly lovable in his lurching way ... Priestdaddy is consistently alive with feeling, however, and I suspect it may mean a lot to many people, especially the lapsed Catholics among us. It is, for sure, like no book I have read.
PositiveThe New York TimesGrann’s new book, about how dozens of members of the Osage Indian nation in Oklahoma in the 1920s were shot, poisoned or blown to bits by rapacious whites who coveted the oil under their land, is close to impeccable. It’s confident, fluid in its dynamics, light on its feet. What it lacks is the soulful, trippy, questing and offhandedly cerebral quality of his last and best-known book, The Lost City of Z ... Killers of the Flower Moon has cleaner lines, and it didn’t set its hooks in me in the same way. But the crime story it tells is appalling, and stocked with authentic heroes and villains. It will make you cringe at man’s inhumanity to man ... Reading his book reminded me that the magazine’s founding editor, Harold Ross, once dreamed of starting a serious true-crime magazine he planned to call Guilty? This never came to pass. Grann’s book investigates one painful splinter of America’s treatment of its native people, and it snips the question mark off Ross’s title.
PanThe New York TimesAnother sort of writer might send Frankie up, might make of her an object of aspirational satire. (Samuel Beckett described tears as 'liquefied brain.') But Baume takes her seriously indeed, and we follow her down a rabbit hole of elegiac quarter-life distress ... A Line Made by Walking becomes a wallow, a trunk of oozing funk, a narrative in which very little happens. I’m a fan of a good wallow, in fiction. But by its midpoint, Baume’s novel begins to stall. Rot and claustrophobia set in. It’s a major event in this novel when the doorbell rings ... It’s the work of an intelligent writer who strands her character in the intellectual and moral horse latitudes.
PositiveThe New York TimesThanks to books by John Jeremiah Sullivan (Pulphead) and Leslie Jamison (The Empathy Exams) and a handful of other young writers, the essay collection has new impetus and drama in American letters. The essay has gained ground on the short story. Sunshine State deserves to be talked about in this company, even if its essays are hit-and-miss. When Gerard is on, she is really on ... The first essay ['BFF'] is a knockout, a lurid red heart wrapped in barbed wire ... Two of the longer pieces, about work to care for the homeless in Florida and about a troubled bird sanctuary, are serious and impeccably reported. But the author’s voice is lost in the telling. She’s best when her evocations of the frenzy that is Florida are personal.
PositiveThe New York Times...a cool and formidable collection of essays, reviews and other matter ... Gaitskill is the second writer I’ve read in the past year (the other was Jenny Diski, in her memoir In Gratitude) to say about rape something I hadn’t before heard and would not have expected: that it was not a defining event in her life ... There’s an appealing sense that she composed these essays because she wanted to, not because a payday was on offer ... She continues to wield a remorseless little hammer.
Jack E. Davis
PositiveThe New York TimesThe author has a well-stocked mind, and frequently views the history of the Gulf through the prism of artists and writers including Winslow Homer, Wallace Stevens, Ernest Hemingway and John D. MacDonald. His prose is supple and clear ... Davis’s book functions, as well, as a cri de coeur about the Gulf’s environmental ruin. His book runs up through the 2010 Deepwater Horizon oil spill. That event aside, he writes, 'Every day in the Gulf is an environmental disaster, originating from sources near and far, that eclipses the spill.'
PositiveThe New York TimesHer biography is not the first we have of Kahn, but it is notable for its warm, engaged, literate tone and its psychological acuity. Lesser’s prologue is almost too tasty, an intellectual fanfare ... Lesser enjoys unspooling the threads of Kahn’s unconventional personality ... Lesser has done a great deal of traveling for this book, and she has an innate feel for Kahn’s architecture ... Lesser’s biography has a flaw, and it’s not insignificant. She races through the eight years Kahn spent in high school and college in eight pages. There’s little exact detail. These are the years most biographers linger on, extracting all the juices, because they’re when an unusual life begins to diverge from the mundane ones that surround it. They’re when a personality is forged.
RaveThe New York TimesEdmund Gordon has written a terrific book — judicious, warm, confident and casually witty. The ratio of insight to literary-world gossip, of white swan to black swan, is as well calibrated as one of Sara Mearns’s impossible balletic leaps ... This bio unfolds a bit like one of the fairy tales Carter shook to release its meaning. The pages turn themselves ...After her death, Rushdie wrote that 'English literature has lost its high sorceress, its benevolent white witch.' This biography is witchy, in the best sense, as well.
PositiveThe New York TimesIt’s memorable to witness Selin, via Batuman, absorb the world around her. Each paragraph is a small anthology of well-made observations ... Small pleasures will have to sustain you over the long haul of this novel. The Idiot builds little narrative or emotional force. It is like a beautiful neon sign made without a plug. No glow is cast ... Sexual heat is at a minimum. This is too bad, because Batuman has a rich sense of the details of human attachment and lust ... There are two things I admire about this novel. One is the touching sense, here as in everything Batuman writes, that books are life. Selin is, convincingly and only slightly pretentiously, the sort of person who buys an overcoat because it reminds her of Gogol’s...I also liked Selin’s determination to be 'someone trying to live a life unmarred by laziness, cowardice, and conformity.' She’s an interesting human who, very much like this wry but distant novel, never becomes an enveloping one.
PositiveThe New York TimesHis book does several things at once. On one level, it’s a biography of Mr. Hampton, who grew up in an upper-middle-class black family in St. Louis. On another, it’s a lucid recap of many of the signal events of the civil rights movement. It’s also a book about how a long and complicated documentary is made ... Mr. Else, who has a clear and easygoing prose style, has things to say about many topics: the bravery of the network cameramen who filmed in Selma and elsewhere; the roadblocks to documentary work set up by misguided intellectual-property laws; and the difficulty of getting old segregationists to talk on camera. I wish this book were 75 pages shorter. I wish it had gotten a bit closer to Mr. Hampton ... [a] warm and intelligent book.
PanThe New York TimesMarshall’s biography is dull and dispiriting. The author, who studied briefly with Bishop at Harvard in the mid- to late-1970s, has made the awkward decision to interlard the text at regular intervals with detailed stories from her own life: her youth, her depression, her attempts to study music and poetry ... Marshall’s attempts at memoir are painfully earnest ... This book does not contain strong or especially perceptive readings of Bishop’s poems. Marshall fails to fully set the milieu of midcentury American poetry. She lacks seizing talons for detail ... As Bishop aged, she increasingly took on younger lovers, sometimes women less than half her age. After decades of reading about the late-life sexual exploits of male poets, this is tonic.
RaveThe New York TimesThere’s a bit of a Harold and Maude thing going on here. Daniel is a Manic Pixie Dream Oldie, to twist a phrase, as was Harold’s much older friend, played by Ruth Gordon in Hal Ashby’s indelible 1971 movie ... As Elisabeth and Daniel talk, and as Elisabeth processes the events of her life, a world opens. Autumn begins to be about 100 things in addition to friendship. It’s about poverty and bureaucracy and sex and morality and music...All along, in the background, like the lounge music of the damned, there is a sense that a certain kind of world is coming to an end, post-Brexit ... Ali Smith has a beautiful mind. I found this book to be unbearably moving in its playful, strange, soulful assessment of what it means to be alive at a somber time ... Autumn has a loose structure, almost like that of a prose poem. This form is perfect for Smith, because her mind will go where it wants to go. And where her mind goes, you want to follow.
MixedThe New York TimesThe material she has to work with is, once again, ridiculously good ... Ms. Bosworth does not recount these stories as a striding march through Manhattan and Hollywood. The Men in My Life attends just as fully to loneliness and darkness, to the slivers of dread that prickled her psyche. There is a good deal of talk in this book about what she calls 'the bereaved creature inside me' ... She writes deliciously, in this memoir, about her sexual awakening, her pursuit of ravishment ... This book’s anecdotes are struck like matches, and there are small glowing moments, but no warming narrative fire results. The tone is detached, and the many cameos by the talented and famous are not sharply drawn ... There is something impacted at this book’s core. It’s a survivor’s memoir, a book by an adult child of alcoholics, and Ms. Bosworth evokes her suffering with patience and care. But the psychological knots this book presents are not profitably untangled.
MixedThe New York TimesIt doesn’t always click. There are passages that, in this translation by Jen Calleja, veer close to psychobabble. But when Nicotine stays dry, earthy and combustible, like a Virginia tobacco blend, it has a lot to say and says it well ... He is especially good on how those who quit become vicarious smokers ... Like any author worth reading, Mr. Hens is sometimes best when he goes off-topic, dispatching obiter dicta. He is brutal about the Midwest. ('The most insignificant city in the United States is Columbus, Ohio.') ... This edition of Nicotine includes an introduction by the English writer Will Self that belongs in the hall of fame of bad introductions. Mr. Self (never has his name seemed so apt) tries to one-up Mr. Hens by bragging at length about his own peerless nicotine addiction. This introduction is profitably torn out, the way smokers of unfiltered cigarettes tear the filters from Marlboros.
PositiveThe New York Times...[a] transfixing new novel ... These two short books are part of a projected trilogy, and together they’re already a serious achievement: dense, aphoristic, philosophically acute novels that read like Iris Murdoch thrice distilled. Increasingly, I’m more interested in getting my hands on the final installment in Ms. Cusk’s series than I am the last of Karl Ove Knausgaard’s My Struggle books. Ms. Cusk is perhaps more profitably compared to writers like J. M. Coetzee and Mr. Roth himself. Her writing offers the iron-rich pleasures of voice instead of style. Each sentence is drilled down, as with an auger ... Transit is fat with substance, as August Wilson once said he wanted his plays to be. There’s a lot of humor in its talk ... Faye occasionally makes the kind of oracular pronouncements that make you want to ask the waiter for the check, please. Such moments are few, but there are more than in the last book, and it’s a worrisome trend.
PositiveThe New York TimesShakespeare told us, in Sonnet 118: 'We sicken to shun sickness when we purge.' Moshfegh’s men and women cannot quite cope with this world. They are desperate and lonely and estranged. They want to tear the pain from their hearts, and it is less complicated to void their stomachs. Our empathy for them blends with disgust, which is nearly the definition of the grotesque in literature ... Moshfegh uses ugliness as if it were an intellectual and moral Swiss Army knife. The transgressive sex in her stories can put you in mind of Mary Gaitskill. Her stories veer close to myth in a manner that can resemble fiction by the English writer Angela Carter ... If her work has echoes of other writers, her tone is her own. At her best, she has a wicked sort of command. Sampling her sentences is like touching a mildly electrified fence. There is a good deal of humor in Homesick for Another World, and the chipper tone can be unnerving. It’s like watching someone grin with a mouthful of blood ... A few of these stories are dead ends or semi-stunts, vignettes that strain for eccentricity. More often, one by one, they click and spin like bullets in a revolver.
MixedThe New York Times...from the moment you crack it open, you’re in the presence of an original voice ... These essays and stories move high and low at once. Some read a bit like the earthy and doomed short stories of the West Virginia writer Breece D’J Pancake, as tweaked by an ironic miniaturist like Lydia Davis. It’s an intoxicating combination ... The problem that confronts the reader of The Correspondence is that, after the near-brilliant first three essays, the pieces begin to display glitches. The second half of the book (two stories and another essay) is lesser work, uneven in tone. Given that the first three essays fill only 76 pages, this entire book begins to seem like a premature birth. The second half can’t come close to cashing the check the first half has written. This is a book proposal as much as a book. The short stories are of a piece with the essays; they’re essentially written in the same voice and fit inside the same loose narrative arc. But they lack the gravitas of the earlier letters, and the wit fizzles ... The Correspondence doesn’t have a proper ending. But its beginning is packed with so much promise that 2017 looks better already.
RaveThe New York TimesSelection Day, Mr. Adiga’s third novel, supplies further proof that his Booker Prize, won for The White Tiger in 2008, was no fluke. He is not merely a confident storyteller but also a thinker, a skeptic, a wily entertainer, a thorn in the side of orthodoxy and cant ... Mr. Adiga’s take on the world often makes you consider what the apocalypse might sound like as reported by the BBC’s Hindi service ... Mr. Adiga, who was born in India and attended Columbia and Oxford, again displays what might be his greatest gifts as a postcolonial novelist: His strong sense of how the world actually works, and his ability to climb inside the minds of characters from vastly different social strata ... Selection Day is not perfect. Its plot loses altitude on occasion...But I don’t come to novels for plot — or I rarely do, at any rate. What this novel offers is the sound of a serious and nervy writer working at near the top of his form.
PositiveThe New York TimesThe best of these stories are a revelation. Ms. Collins had a gift for illuminating what the critic Albert Murray called the 'black intramural class struggle,' and two or three of her stories are so sensitive and sharp and political and sexy I suspect they will be widely anthologized. If the bulk of the 16 stories in Whatever Happened to Interracial Love? are less fully realized, they point in directions she might have taken had she lived. They have a talky, crackling quality that keeps them afloat even when they veer toward the pretentious ... This foreword is titled 'In Search of Kathleen Collins,' yet Ms. Alexander writes almost entirely about herself. On the back flap, Ms. Alexander’s paragraph of biographical details is longer than the author’s. Ms. Collins deserves a proper introduction to American readers, one she does not receive here.
PositiveThe New York Times...[a] crisp and authoritative new biography ... He tells Clark’s story with dispassionate grace and wit. His prose is unobtrusive but well tailored. He delivers any number of well-observed set pieces, such as the time Clark visited Andy Warhol’s Manhattan studio and found the art so bogus he had a sneezing fit.
PositiveThe New York TimesTestimony ends when its author was still relatively young, but it is packed with incident ... His memoir is confident and well oiled. At times it has the mythic sweep of an early Terrence Malick movie ... Mr. Robertson, in Testimony, occasionally leans too heavily on mythopoeticism. But just as often his writing is wonderfully perceptive.
RaveThe New York TimesHis book is electric, because it is so well reported, so plainly told and so evidently the work of a man who has not grown a callus on his heart ... Mr. Lowery’s book is valuable for many reasons. He circles slowly and warily around the question of why, during Barack Obama’s presidency, so little has seemed to improve on the racial front ... Mr. Lowery collected hundreds of interviews for this book, and he recounts his visits to many cities to cover shootings. But his book never reads like a data dump. It has a warm, human tone.
PanThe New York TimesA tolerance for a certain amount of pomposity is a prerequisite for keeping up with serious art...Ms. Abramovic pushes this tolerance to its limits ... There’s a self-help aspect to this memoir that blends poorly with the implicit injunctions to warm one’s hands on the blaze of her greatness ... [a] shallow and misconceived memoir.
PositiveThe New York TimesThe first 100 pages The Sellout are the most caustic and the most badass first 100 pages of an American novel I’ve read in at least a decade...like the most concussive monologues and interviews of Chris Rock, Richard Pryor and Dave Chappelle wrapped in a satirical yet surprisingly delicate literary and historical sensibility ... Broad satirical vistas are not so hard for a novelist to sketch. What’s hard is the close-up work, the bolt-by-bolt driving home of your thoughts and your sensibility. This is where Mr. Beatty shines ... The Sellout I am sad to say, falls into a holding pattern in its final two-thirds. Mr. Beatty still writes vividly, and you’re already up there at 30,000 feet. But the sense of upward thrust is mostly absent.
PositiveThe New York TimesOdes picks up where Stag’s Leap left off, which is to say that it contains some of the best and most ingenious poems of her career ... Ms. Olds renders the personal universal ... There is a good deal of lesser work in Odes. When Ms. Olds’s poems miss, they really miss, more so than most poets at her level ... The book’s warmth comes from the intensities of its language and the intensities that emerge from a life that seems well lived.
PositiveThe New York TimesMr. Lethem’s backgammon writing has a satisfying crunch. It’s witty and sexy, too. ... It’s when the novel returns to the Bay Area that it fully becomes a Jonathan Lethem production. That is, the author begins to pour many of his abiding concerns into it: radical politics, underground art, an interest in literary genre (here a loose-leaf tea blend of detective fiction and science fiction), misplaced memories, a missing mother ... A Gambler’s Anatomy is a fluky novel, not among Mr. Lethem’s very best. Its themes are underdeveloped, and it moves in zigs and zags, like a squirrel in headlights ... This novel is a tragicomedy; it plays at its best like a Twilight Zone episode filmed by the Coen brothers. At its worst, nothing is at stake — the characters are breezy ciphers.
RaveThe New York TimesDavid Szalay writes with voluptuous authority. He possesses voice rather than merely style ... This cosmopolitan author is not overtly funny; his humor seeps organically to the surface, like a rising water table ... Mr. Szalay’s own stream of perception never falters in its sensitivity and probity. This book is a demonstration of uncommon power. It is a bummer, and it is beautiful.
PositiveThe New York Times...like her previous books, it’s a mess: anarchic in its plot machinations, scrambled in its themes, mostly shallow in its emotions ... The strange thing is that you’re never tempted to put Ms. Zink’s novels aside. They contain so much backspin and topspin that you’re kept alert by the leaping motion ... Ms. Zink has a confident feel for the dynamics of a group house, and for the lives of young, earnest, befuddled, middle-class kids who will sacrifice a good deal in order to believe in something ... I could listen to Ms. Zink’s dialogue all day; she may be, at heart, a playwright.
RaveThe New York Times...[a] big, loose, rangy and intensely satisfying memoir ... The book is like one of Mr. Springsteen’s shows — long, ecstatic, exhausting, filled with peaks and valleys ... Born to Run is, like his finest songs, closely observed from end to end. His story is intimate and personal, but he has an interest in other people and a gift for sizing them up.
PanThe New York TimesAlas, the book is a word-heap. Eyes on the Street is graceless, infantilizing of its subject and strangely unbuttoned in tone. It often seems to be muttered as much as written, like one of those garbled subway announcements you cannot understand but suspect might matter ... Mr. Kanigel quotes his interview subjects haplessly. His analogies are inane ... His book somewhat finds its feet in its second half, as Mr. Kanigel increasingly gets out of the way and lets Jacobs’s story tell itself. Many readers will have already returned to their apartments, run their fingers through some gin and ice, and slammed the door.
PositiveThe New York TimesAvid Reader manages to cover all this territory, as well as Mr. Gottlieb’s decades-long association with New York City Ballet, with grace and guile and a sometimes-barbed wit ... And at times this book has, perhaps justifiably, a self-congratulatory ring. But this is an indispensable work of American publishing history, thick with instruction and soul and gossip of the higher sort.
PositiveThe New York Times...a whooping, joy-filled and hyperbolic raid on, of all things, the theory of evolution ... Because this is a Tom Wolfe production, there is a great deal of funny and acid commentary on social class ... Mr. Wolfe’s prose here is mostly sure-footed, but there are moments when he seems on the verge of losing it, of falling into fragments of Morse-code nonsense ... The Kingdom of Speech is meant to be a provocation rather than a dissertation. The sound it makes is that of a lively mind having a very good time, and enjoying the scent of its own cold-brewed napalm in the morning.
Stefan Hertmans, Trans. by David Mckay
RaveThe New York Times\"... an uncanny work of historical reconstruction ... The result is a gritty yet melancholy account of war and memory and art that may remind some readers of the work of the German writer W. G. Sebald ... Urbain Martien was a man of another time. This serious and dignified book is old-fashioned, too, in the pleasant sense that it seems built to last.\
Jonathan Safran Foer
PositiveThe New York TimesThis is a big spread, in other words, an ambitious platter of intellection and emotion. Its observations are crisp; its intimations of doom resonate; its jokes are funny. Here I Am consistently lit up my pleasure centers. Like Kedem kosher grape juice, it is also very sweet, in ways that later made me a bit ill ... Mr. Foer’s dialogue is so crisp you can imagine him writing for the stage ... This book offers intensities on every page. Once put down it begs, like a puppy, to be picked back up. But its insistent winsomeness cloys.
ed. Jesmyn Ward
PositiveThe New York TimesA few essays scratch at the surface only to find more surface. They’re the mussels, in this fragrant bowl, that fail to open ... There are five excellent reasons to buy this book: The essays by Rachel Kaadzi Ghansah, Carol Anderson, Kevin Young, Garnette Cadogan and Ms. Ward. Each is so alive with purpose, conviction and intellect that, upon finishing their contributions, you feel you must put this volume down and go walk around for a while.
PositiveThe New York TimesThe Accidental Life is by and large a fond book. It’s a fan’s notes from a man who, before the apocalypse, edited and often befriended many of his literary heroes ... Don’t come to The Accidental Life looking for score-settling or acid gossip. Mr. McDonell is writing about his friends. He isn’t opening his vault or baring his soul ... Mr. McDonell is proud of each of his teams at the magazines he’s edited, but this memoir is far from self-congratulatory. He writes winningly about his regrets ... intelligent, entertaining and chivalrous. It’s a savvy fax from a dean of the old school.
MixedThe New York TimesThe conceit of Wear and Tear is that Ms. Tynan, who was born in 1952, recounts her life through the clothes she wore in each era: private-school uniforms and bikinis and apple-green shoes and plaid pinafores and Ossie Clark dresses. This works except when it feels forced, which is about half the time ... Wear and Tear is written cleanly and well, even if it deflates a bit each time Tynan and Dundy aren’t around. 'Watching them was like watching a horror movie,' Ms. Tynan writes. When the monsters slink off, our pulse rate declines.
RaveThe New York Times...[an] intensely strange and terrifically vivid new book ... reads like what you might get if you took a writer like Julian Barnes or Anthony Lane and dropped him into the woods with only a granola bar and a pointy stick ... His awareness of his failures makes him all the more winning ... an eccentric modern classic of nature writing.
Jennifer Keishin Armstrong
MixedThe New York TimesThese sorts of arguments — that we are living in the world that X made — have become coma-inducing. X can be solved for anyone and anything: Betty Boop, Betty Crocker, Henry Ford, Hedda Hopper, Bo Diddley, Twiggy, Daniel Ellsberg, Boris Johnson. The reasons to come to Seinfeldia are its carefully marshaled history lesson, and Ms. Armstrong’s way of laying out her produce as if she were operating a particularly good stall at a farmer’s market...I haven’t watched Seinfeld reruns for a while. I overdosed years ago and went cold turkey. Perhaps the highest praise I can give Seinfeldia is that it made me want to buy a loaf of marbled rye and start watching again, from the beginning.
RaveThe New York Times\"There’s little in the way of conventional plot. But Ms. Bennett has a voice that leans over the bar and plucks a button off your shirt. It delivers the sensations of Edna O’Brien’s rural Irish world by way of Harold Pinter’s clipped dictums ... You swim through this novel as you do through a lake in midsummer, pushing through both warm eddies and the occasional surprisingly chilly draft from below ... Sometimes first novels like Pond are one-offs. They deliver a voice the author can’t tap again. Ms. Bennett’s sensibility here feels like the tip of a deep iceberg, and I’ll be in line to read whatever she publishes next.\
PositiveThe New York TimesHe is right to stand by his book. Mr. Talese makes it abundantly clear in The Voyeur’s Motel that Mr. Foos is not an entirely reliable narrator ... I’m not altogether certain I can make an airtight ethical case for Mr. Talese’s journalism in The Voyeur’s Motel, at least not in the space remaining in this column, but I can make a literary one. This book flipped nearly all of my switches as a reader. It’s a strange, melancholy, morally complex, grainy, often appalling and sometimes bleakly funny book ... one reason The Voyeur’s Motel is gripping is that Mr. Talese doesn’t fletcherize his material. He lays out what he knows and does not know in sentences that are as crisp as good Windsor knots. He expresses his qualms, but trusts the reader to come to his or her own conclusions. Nor does he demonize Mr. Foos ... You will often feel shabby while reading The Voyeur’s Motel. You are meant to. It’s an intense book that reminds us that a problem of being alive is seeing things you hate but are attracted to anyway. It’s possible to admire it while wanting to pluck out your own prying eyes.
PositiveThe New York TimesNot everything in it is top shelf. Some of the early articles are tentative and straightforwardly reportorial; Mr. Trillin was still finding his voice. But everything in Jackson, 1964 resonates. The book builds, and the payoffs in some of its later pieces (the most recent is from 2008) are generous. The volume is more than a history lesson. The issues it considers — police shootings, voter suppression tactics, race-based acts of terrorism — seem taken from today’s headlines. We’ve come so far, yet we haven’t come very far at all ... Jackson, 1964 is a memorial of sorts. It contains the names of many forgotten figures in the civil rights struggle. The biggest honor Mr. Trillin paid these men and women was to write about them so honestly and so well. These pieces have literary as well as historical merit, and they will continue to be read for the pleasure they deliver as well as for the pain they describe.
RaveThe New York Times[Isenberg] has written an eloquent volume that is more discomforting and more necessary than a semitrailer filled with new biographies of the founding fathers and the most beloved presidents. Viewed from below, a good angle for no one, America’s history is usefully disorienting and nearly always appalling. White Trash will have you squirming in your chair ... From this beginning, Ms. Isenberg moves confidently forward, through, for example, the class issues that undergirded the Civil War and the popular eugenics movement, favored by Theodore Roosevelt, that marked many as targets for sterilization. Slavery and racism are hardly discounted in this book, but she maintains her focus on poor whites ... This estimable book rides into the summer doldrums like rural electrification ... White Trash is indeed a bummer, and a thoroughly patriotic one. It deals in the truths that matter, which is to say, the uncomfortable ones.
PositiveThe New York Times[Geltner has] written a lean and pleasingly consumable book by sticking to essentials. He’s delivered what Vladimir Nabokov said a biographer should: 'plain facts, no symbol-searching, no jumping at attractive but preposterous conclusions, no Marxist bunkum, no Freudian rot' ... This biography comes to weird, florid life in its middle sections. As Crews’s star rose in American fiction, he reveled in his outsider status ... Harry Crews led a big, strange, sad and somehow very American life. It is well told here.
PanThe New York TimesSlaughter of every variety is on Ms. Proulx’s mind. Barkskins — the title refers to woodcutters — is a Baedeker of doom. Characters die from cholera and measles and smallpox, from shipwrecks and scalpings and botched amputations and occult tortures. More often, they perish in grisly logging mishaps. Ms. Proulx is adept at this culling. She has a lesser knack for first bringing her men and women to life. Barkskins rarely warms in your hands. Its ideas are more finely beveled than its people, never a good sign. Ms. Proulx favors 'characters' rather than character, as Alfred Kazin complained about John Irving. (Among the names here: Blade Scugog, Dud McBogle and Hudson Van Dipp.) Watching its action is like strolling around the world’s largest ant farm. There’s more wriggling than drama ... At its best, it is vivid, mean and wordy, as if the film The Revenant had been annotated by Bob Dylan ... Op-ed sound bites light the way toward this novel’s truly abysmal ending, in which a modern scientist solemnly warns about global warming that 'a great crisis is just ahead' and a woman wants to cry out 'The forests, the trees, they can change everything!' You feel your synapses, as did the forests, turn to pulp.
MixedThe New York Times...written a tepid and bloodless book, one that demonstrates the defects and virtues of consummate professionalism. It’s all here, but the details remain flat on the page, as if pressed on with Fun-Tak ... Mr. Lubow does get Arbus’s life onto paper, however, and there is no denying that her story is a whirlpool, sucking you in ... One of his book’s achievements is to take us inside the making of famous image after famous image.
RaveThe New York TimesWith In Gratitude, she has written a different kind of cancer memoir, and an almost entirely platitude-free one, simply by writing a typically sui-generis Jenny Diski book. Which is to say, a book that pushes in five or six directions at once...There’s a raw, almost feral quality to Ms. Diski’s writing about cowering in Lessing’s long shadow. It’s a trait she brought to so much of her writing. It’s just like her to leave us a title, In Gratitude, that slowly sheds its softness and sends up a mischievous flare.
PositiveThe New York TimesThere are so many casual pleasures in Ms. Dove’s poetry that the precision and dexterity in her work — the darkness, too — can catch you unawares ... Ms. Dove’s poems have earthiness, originality, power and range. Despair and loss are among her central themes, but so is the hunt for bedrock human pleasures.
PanThe New York TimesMs. Cline can’t come close to sustaining her novel’s early momentum. After 30 or 40 pages, my enthusiasm for The Girls began to wane. After 60 pages, I was scanning for the exit signs. The storytelling becomes vague and inchoate, as if you are reading a poem — a windy poem of the Jorie Graham variety — about the novel you’d rather be consuming. This humorless book whispers when you wish it would scream. Its sentences go soft, like noodles in a pot ... It’s not that Ms. Cline doesn’t possess obvious talent. She has an intuitive feel for the interiors of a 14-year-old’s mind, especially the way that Evie, with her fragile sense of self, becomes party to her own abasement at the hands of Russell, the charismatic cult leader ... Everything in The Girls is pre-elegized. Thesis statements jam this novel’s circuitry, as well. Ms. Cline has a good deal to say about how young women move through the world, except when she tells instead of shows. Then her book simply collapses.
PositiveThe New York Timest’s an unpretentious, truth-dealing, summer-weight novel — bought by Knopf in an attention-grabbing six-figure deal — that reads like a letter home from a self-deprecating friend...At the beginning there are gimmicky interpolated sections about things like the nature of sweet versus sour. You fear you may be headed into a genre fiction tunnel of love. Those fears are quickly dispelled. Ms. Danler is a gifted commenter (chilly autumn air in Manhattan 'tasted of steel knives and filtered water') on many things, class especially. An awareness of privilege runs through this novel like a tendon.
RaveThe New York TimesThe essays in Seven Brief Lessons on Physics arrive like shots of espresso, which you can consume the way the Italians do, quickly and while standing up. As slim as a volume of poetry, Mr. Rovelli’s book also has that tantalizing quality that good books of poems have; it artfully hints at meanings beyond its immediate scope ... Mr. Rovelli imparts a sense that we may have begun to wave farewell, and his book is a roll call of the scientists who have taken us so far, from Einstein and Niels Bohr through Werner Heisenberg and Stephen Hawking. Like us and everything else in our universe, they emerged from one small, dense hot cloud. These men’s intellects simply burned a bit brighter. The lessons in Mr. Rovelli’s book, as elegiac as they are incisive, do them justice.
Svetlana Alexievich, trans. Bela Shayevich
PositiveThe New York TimesOccasionally you are made to feel adrift in narrative Siberia, left to dream about condensation and editing, about the knife skills an oral historian should have in her kit. This book can leave you lost in time, as well. The interviews were collected over many years, but dates are rarely supplied. This book is dense on a macro level, but one sometimes misses the sentence-by-sentence density of the best fiction. These are quibbles. Secondhand Time is an avalanche of engrossing talk.
PositiveThe New York TimesThere’s a radical kind of transparency to her work. Ms. Berlin has a gift for describing the intimate lives of her characters, many of them harried and divorced single mothers who have been, or are, addicted to strong drink or far worse ... She was unusually perceptive about working life, a subject that still gets short shrift in American letters. The title story, a near masterpiece, is told from the perspective of a woman who cleans houses, including those of her friends, to survive after her husband has died ... This book should have been better. The foreword by Lydia Davis and the introduction by its editor, Stephen Emerson, maddeningly overlap. Each says the same thing many times (basically, 'Look how talented my friend Lucia Berlin was') while skimping on what you really want, which is context and biographical detail ... This book would have been twice as good at a bit more than half the length. Ms. Berlin is a writer you want in your back pocket; this volume’s tombstone heft turns her into homework. Stories could have been omitted. In some she went in for twist endings you see coming a block away. She could veer toward melodrama.
PositiveThe New York TimesMs. Morgan’s literary sins, if sins they are, derive from her muse, which appears to be almost too big to carry. Because she can do anything, she tries to do everything. In The Sport of Kings she has clearly written a serious and important novel if not a great one. She has constructed an enormous bonfire that never fully lights. What’s interesting about it is her almost blinding promise.
MixedThe New York TimesIf there aren’t many grace notes in his prose, neither is there much perceptive musical criticism. When Prince Charles presents Mr. McCartney with an honorary fellowship of the Royal College of Music, for example, Mr. Norman writes, 'Never again would the classical music world be able to condescend to him.' Does Mr. Norman understand how condescension works? I don’t wish to be too hard on Paul McCartney: The Life. The story of its subject’s life from his childhood in Liverpool through the breakup of the Beatles in 1970 has lost none of its ability to charm. The first 400 pages relate, once more, one of the best stories the past century has to tell.
PositiveThe New York TimesYou can open to nearly anywhere in the first third of S O S: Poems 1961-2013, a career-spanning new collection of his work, and find fresh evidence of his capacities ... What’s best about Baraka’s verse is that this historical sensibility and sense of historical dread bump elbows with anarchic comedy ... S O S is the best overall selection we have thus far of Baraka’s work, but he is served poorly by it. The introduction by Paul Vangelisti, the volume’s editor, is an anthology of unforced errors. Mr. Vangelisti neglects to provide the most basic details of Baraka’s life, so these poems are shorn of context. He also writes academic jargon of the sort Baraka despised ... Baraka’s poems are filled with tantrums and sophistries, stances and dances. There are many, many deficiencies of coherence. Some make only the dead, clicking sound cars make in the frost. But others plant a hatchet in your skull that you won’t be able to pull out for weeks.
RaveThe New York Times[Graham's] new book, From the New World: Poems 1976-2014, is an important consolidation of her work. It reshuffles but does not essentially alter our sense of her verse, which has grown somewhat more political and environmentally minded over time. We watch the length of her lines expand and contract. But her voice has barely changed. This is a poet who, for better and sometimes worse, arrived almost fully formed ... Her poems tend to be difficult, but not in an academic sense. She leads you to the door of comprehension, often enough, only to close it on your ankle. To remain with her, you must be willing to suspend reason and allow her language to flow over you like a syntactic spa treatment.
Robin Coste Lewis
PositiveThe New York TimesMs. Lewis arranges this material with genuine technical ingenuity, until its incremental emotional force begins to make you feel you have an elephant lowering itself onto your chest ... In the lesser poems in this volume, Ms. Lewis’s language can turn gauzy. In one poem we read, for example: 'Pray/the stars/are all the feelings.' This kind of thing is rare in Voyage of the Sable Venus, however. More often, her poems land with defoliating force.
RaveThe New York TimesThe first two-thirds of Blackout are simply extraordinary. Ms. Hepola’s electric prose marks her as a flamingo among this genre’s geese. She has direct access to the midnight gods of torch songs, neon signs, tap beer at a reasonable price, cigarettes and untrammeled longing.
RaveThe New York TimesHelen Macdonald’s beautiful and nearly feral book reminds us that excellent nature writing can lay bare some of the intimacies of the wild world as well. Her book is so good that, at times, it hurt me to read it. It draws blood, in ways that seem curative ... H Is for Hawk is good about death, about parents, about depression, about solitude and about keeping small cute, dead animals in your freezer to toss to your hawk. But it is especially good about class and gender.
RaveThe New York TimesGhettoside is old-school narrative journalism, told strictly in the third person. It’s as square as a card table. Yet the book is a serious and kaleidoscopic achievement ... Ms. Leovy’s greatest gift as a journalist [is] her ability to remain hard-headed while displaying an almost Tolstoyan level of human sympathy. Nearly every person in her story — killers and victims, hookers and soccer moms, good cops and bad — exists within a rich social context ... Ms. Leovy’s narrative has its share of clichés and mildly soggy moments, yet on the whole she’s a crisp writer with a crisp mind and the ability to boil entire skies of information into hard journalistic rain.
RaveThe New York TimesMs. Seierstad has read everything about Mr. Breivik and the case, interviewed everyone. (Her epilogue, about her methods, should be required reading in journalism schools.) She is determined to see Mr. Breivik, so much so that her steely approach put me in mind of something Roy Blount Jr. once said: 'If you won’t talk to me I’ll write about your face. If you won’t look at me I’ll write about the back of your head' ... The roughly 70 pages Ms. Seierstad devotes to it are harrowing in their forensic exactitude. She seems to note the trajectory and impact of every bullet Mr. Breivik fired ... It’s said that exact detail is uniquely helpful when it comes to mending after terrible events. If it is true, as Stephen Jay Gould contended, that 'nothing matches the holiness and fascination of accurate and intricate detail,' then Ms. Seierstad has delivered a holy volume indeed.
PositiveThe New York TimesNo pretension or flab here. Just sturdy verbs, a casual flowing power, tantric masculine reticence, a melancholy sense of a sidewise-drifting life, little humor. There isn’t a line the most mischievous critic could single out for ridicule. Barbarian Days reminds you, though, that not being able to find fault with something isn’t the same as loving it. This is a very long book with excellent things in it, but it can be like watching a brooding film that’s mostly fine cinematography. The characters (including Mr. Finnegan) only rarely squeak to life ... As both travel writing and memoir, Barbarian Days often slips into the horse latitudes between the ode to joy that is Jack Kerouac’s On the Road and the misanthropic wit that fills Paul Theroux’s accounts of his adventures. There’s little sting in its tail.
RaveThe New York TImesMr. Kinsley is now 65, with body more or less intact, and wits entirely so, if his superb new book is any indication. Old Age: A Beginner’s Guide isn’t really about Parkinson’s. It’s about aging in general. More specifically, it’s about how the baby boomer generation, which is now rounding third base like a herd of buffalo and stampeding for home plate (which is a hole in the ground, as the novelist Jim Harrison liked to say), will choose to think and act in the face of it.
Karl Ove Knausgaard
RaveThe New York TimesThere are moments in My Struggle: Book Five that drag. Once or twice, I wrote 'Help Me' in the margins and doubled down on the double espressos. These were small eddies in an onrushing river. The critic James Wood has captured my sense of Knausgaard: 'Even when I was bored, I was interested.' My Struggle is fundamentally a confessional work, and Karl Ove has admitted, in Book Three, that he is writing in part to exact revenge on those who pitied, dismissed or bullied him. He wants to return home a literary champion, someone who is impossible to ignore. As we await the concluding volume in this series, it’s a reminder, for those who still need it, that great impulses are not required to make great art.
PositiveThe New York Times[Schiff's] dark wit gives her stories genuine tensile strength, even when they misfire. She dips into her own braininess as if it were a bottomless trust fund...If these stories are not the real thing, they’re such a good imitation of it that the distinction is meaningless. Ms. Schiff has an almost Nabokovian boldness and crispness of phrase.
PositiveThe New York Times[T]his book’s depths reside in Mr. Berlinski’s rich portrait of a society, and his cool, probing writing about topics like sex, politics, journalism, race, class, agriculture, language and fear.
PositiveThe New York Times...a cooly observant book ... you couldn't have written a tastier ending, even for HBO.
PositiveThe New York TimesIn Arlene Heyman’s first book, the short-story collection Scary Old Sex, she pays such sustained and stylish attention to late-life lovemaking, however, that you may feel you are reading about it for the first time...A few of these seven stories don’t entirely work. Some sag somewhat toward the middle, like the insides of some of the thighs she describes. But Ms. Heyman is never an uninteresting writer.
RaveThe New York TimesWhat makes his book so intimate and moving is its human scale. Mr. Hochschild follows the paths of a handful or two of American (and occasionally English) volunteers, as well as journalists, and tells the larger story of the war through their tribulations ... [Hochschild is] a generally sympathetic observer of this conflict’s journalists, but he can also be stern. He criticizes the herd mentality that led journalists to miss one of the war’s biggest stories — how Franco’s side was propped up with oil delivered by Texaco, at the behest of an executive with Nazi sympathies.
PanThe New York Times...I’d be lying if I didn’t say that reading For a Little While mostly made me wish I’d left my fond memories of Mr. Bass’s work alone. Read in bulk, his stories begin to seem soft and similar and frequently shapeless. They drain the life from each other rather than striking sparks....Stories like 'Wild Horses,' 'In Ruth’s Country,' 'Pagans' and 'Elk' more than hold up. They display clarity and heart and moral vision, and glow like a well-stoked wood stove. Still, their heat can’t warm the entire structure of this long book.
RaveThe New York TimesThe writing in Greg Jackson’s first book of stories, Prodigals, is so bold and perceptive that it delivers a contact high. You know from the first pages that, intellectually, you’ve climbed into a high-performance sports car. Only one question remains: Will the author smash it into a tree?...Best of all there’s that sense — only the excellent ones give it to you — that whatever topic the author turns his mental LED lights toward will be powerfully illuminated.
PositiveThe New York TimesThe sorts of loneliness that can envelope you in a big city have been much explored in music and art and literature, where a plump blue moon is always shining down on someone. The British writer Olivia Laing, in her new book, The Lonely City, picks up the topic of painful urban isolation and sets it down in many smart and oddly consoling places. She makes the topic her own.
PanThe New York Times“In Other Words is, sadly, a less ecstatic experience for you and me. It’s a soft, repetitive, self-dramatic and self-hobbled book, packed with watercolor observations like: 'There is pain in every joy. In every violent passion a dark side.' That someone gets a lot out of writing something does not necessarily mean anyone else will get a similar amount from reading that thing.
RaveThe New York TimesWhat’s extraordinary about The Blue Touch Paper is how much intellection and drama and sensibility and wit Mr. Hare squeezes into the telling of his first three decades or so. This is no butterfly-watching stroll through a life. Mr. Hare is a man who seizes on details and ideas, and who writes as if words matter.
PanThe New York TimesChristopher Sorrentino grafts a halfhearted, Elmore Leonard-style casino heist plot onto what is fundamentally the mournful story of one man’s failures as a writer, a husband and a father. The result is something close to a disaster. The elements don’t mesh, and what we’re left with is what’s called, in the video game world, at least, a mutual kill: Each side is fatally damaged.
PanThe New York TimesThis is the sort of novel you find yourself reading aloud to those within earshot, because you can’t quite believe how often the autumnal-intellectual tone Mr. Pinckney searches for veers instead toward ripe nonsense ... Black Deutschland works best, and loses its hydroponic quality, when it is grounded in the soil of close observation. Mr. Pinckney is very good, for example, on the intricacies of race and class.
PositiveThe New York Times...a very good new collection of Mr. Hitchens’s work previously unpublished in book form.
RaveThe New York TimesMr. Greenwell writes long sentences, pinned at the joints by semicolons, that push forward like confidently searching vines. There’s suppleness and mastery in his voice. He seems to have an inborn ability to cast a spell.
PanThe New York TimesThis large volume, welcome though it is, is unwieldy. The excerpts from some of Mr. Hughes’s other books — The Fatal Shore, about Australian history, Goya, Barcelona, Rome — rest uneasily next to his criticism and more personal writing. Out of context, these lumps feel undigested.
Ed. Nile Southern and Brooke Allen
PanThe New York Times Book ReviewSouthern’s letters were antic, but they were also surprisingly unlettered and juvenile in an ur-Judd Apatow sort of way. (A lot of penis jokes.) He was not a close observer of people, in these letters, nor of his environments. He didn’t reveal much about his own life. There aren’t many facts to hang onto.
Iris Murdoch (Edited by Avril Horner & Anne Rowe)
PositiveThe New York Times...anyone who misses the regular appearance of new Murdoch novels will find plenty to enjoy and admire in these letters. They pitch us back into her cerebral yet vaguely surreal and magical intellectual world. Her mind, here as in everything she wrote, is formidable.
PositiveThe New York TimesThis is Mr. Moody’s best novel in many years. It’s a little book, a bagatelle, but it’s a little book of irony and wit and heartbreak.
RaveThe New York Times...beautiful and meticulous...Mr. Guralnick is the perfect man to tell this story.
PositiveThe New York TimesIt’s a weakness of SPQR that Ms. Beard seems more eager to tell us what historians don’t know than what they do...You push past this book’s occasional unventilated corner, however, because Ms. Beard is competent and charming company. In SPQR she pulls off the difficult feat of deliberating at length on the largest intellectual and moral issues her subject presents (liberty, beauty, citizenship, power) while maintaining an intimate tone.
MixedThe New York TimesMs. Gaitskill is such a preternaturally gifted writer that nearly every page of The Mare shimmers with exacting and sometimes hallucinatory observation...As this novel moves forward, however, we begin to feel we’ve been here many times before. The Mare trots, in fairly docile fashion, along the path of nearly every sports-underdog story ever written.
PanThe New York TimesAvenue of Mysteries is to fiction, it can seem, as the Cirque du Soleil is to gymnastics. There’s athleticism and a degree of difficulty, for sure, in Mr. Irving’s storytelling. There are also a lot of sequins and canned melodrama and hammy showmanship.
Juan F. Thompson
MixedThe New York Timesa careful yet harrowing account of an offbeat childhood, and of a father-and-son relationship that grew very dark before it began to admit hints of light.
PanThe New York TimesEarly on, you notice a certain defanged quality. More alarming are the slack passages, the repetitions, the lack of anything truly fresh to say.
MixedThe New York TimesA few crucial topics feel underexplored. At various points in this memoir the author is at work on poems, or a novel. Yet he never says if one reason he wanted that remote house was simply to clear space to write. (He supported himself on meager savings.) The literary motive, if there is one, is left to the side.
MixedThe New York TimesSlade House is Mr. Mitchell’s shortest and most accessible novel to date, and you don’t have to have read The Bone Clocks to comprehend it. Readers who come to this book first, however, will get only a slivery glimpse of this writer’s talent. Our seats are the intellectual version of 'obstructed view,' as cheap theater tickets sometimes say.
PanThe New York Times“This is one of those novels in which digression piles upon digression until the digressions become the thing itself. You float on a raft of misdirection ... We get the author’s point. Life is easy for none of us and, as he might put it, funny how time slips away. But these events don’t resonate as they scroll past. It’s like watching someone stir plastic toads in an unlit caldron.”