About Book Marks
Jane Hu
Recent Reviews
Danielle Evans
Rave New York Times Book Review The author rewrites the official record by way of fiction. Evans is particularly gifted at depicting character, especially female protagonists ... Evans’s Black female characters often start out on the periphery: The worker at the Titanic hotel muses that \'she was backdrop.\' Literature offers a kind of corrective to history by drawing these figures into the foreground ... Evans’s propulsive narratives read as though they’re getting away with something, building what feel like novelistic plots onto the short story’s modest real estate.
Aoko Matsuda, Trans. by Polly Barton
Positive New York Times Book Review Each story in Where the Wild Ladies Are updates a traditional Japanese folk tale for our contemporary world. The result is delightfully uncanny ... Matsuda’s retellings are feminist with a vengeance ... Yet just as this brave new world allows these women to grow wild, it also castrates out-of-work men. These stories, deftly translated by Barton, touch on a recession specific to Japan, though the language of neoliberal precarity and gig work will be familiar to many.
Scholastique Mukasonga, Trans. by Jordan Stump
Positive The New York Times Book Review Mukasonga’s language, in Stump’s translation from the French, is at once intimate and impersonal. Her stories are almost all narrated by children, whose early exile from home and family heightens their disorientation in the world while denying them ways to cope ... The devastation in Mukasonga’s stories is only amplified by the short story form. Igifu is notably slim, as though to suggest all that still hasn’t been told.
Cathy Park Hong
Positive The Nation ... bracing ... Her book is ultimately less a definitive document of the Asian American experience than it is a document of Hong’s attempts (and frequent failures) to articulate its contradictions ... as one moves through Minor Feelings, one begins to see how, beside her rejection of white affirmation, there exists a more affirmative story of Asian American collectivity: A minor plot of the book, scattered across its chapters, is one of racial solidarity ... Rather than advance any theses about contemporary Asian America, [the chapter] \'Bad English\' offers a searching and introspective examination of the very language that makes Minor Feelings possible—the literary forms that enable Hong to speak to and on behalf of the contradictions of being Asian American ... Throughout \'An Education,\' Hong renders...friendship—while often volatile and sometimes even violent—in a way that feels crucially vital ... Minor Feelings begins with intraracial antagonism, but it ends by trying to envision something closer to a form of intraracial solidarity.
Caleb Crain
Rave Slate At 472 pages, it’s not quite a tome, perhaps, but it recalls the dreamy pacing of Henry James or Elizabeth Bowen ... Necessary Errors is a bildungsroman, but it’s about the coming of age of these friends as well as Jacob, who needs them badly ... There is, in fact, a general haze that surrounds the novel (and perhaps your early 20s as well). If nothing really happens, it does so deliberately ... Crain’s ability to keep our interest without an obvious narrative arc, to make us care, intensely, about his characters without any cat-saving or cliffhangers, is what makes the novel feel like a new sort of model for contemporary fiction ... Crain has managed to write a moving and involving story about someone trying to find not just his own story, but his own voice as well. There are no dramatic flashes, no so-called twist endings ... Crain does end—no spoilers—on a cliffhanger of sorts. This, another kind of reader might think, is where the real story begins. We, though, for having read Necessary Errors, understand that the realness of a story should not be judged by \'what happened.\' Plot cannot be the most crucial element to storytelling, when the ways of telling a story are infinite.
Caleb Crain
Positive Bookforum The narrative of Overthrow might itself be described as a competition of data versus poetry, information versus secrecy, knowing versus not knowing. For while Crain takes up the contemporary subjects of digital surveillance and technological terrorism, the novel itself sides with uncertainty and unknowing ... Crain’s prose sparkles most when it returns to scenes of private interiority, of personal anguish and emotional attunement. Even as the book conjures the dystopian potential of twenty-first-century techno-capitalism, its best scenes remain its more textured intimate moments. If the state seeks to conquer by force, then the kind of revolution Overthrow proposes—however cautiously—is one that rests in forms of unspoken, telepathic consent. It’s the kind of affective connection we might find, for instance, in a novel.
Ling Ma
Rave The New Republic \"Is it possible to imagine a future that isn’t at least somewhat tinged by the feverish traces of our collective past? It certainly becomes difficult to do so while reading Ma’s novel, in which all of life—whether before or after the apocalypse, in America or in China—is rendered through the same devastatingly lyrical prose ... Severance is the most gorgeously written novel I’ve read all year; when I finished it, I immediately picked it up and read it all over again.\
Hilary Mantel
Rave The Los Angeles Review of Books Mantel condemns her readers to live in the mind (and witness the psychological acrobatics) of Henry VIII’s most notorious hit man. Seeing history through Cromwell’s eyes gives the reader privileged access to certain secrets, to the conflict behind his silence, behind his famously reticent and impassive mien. Like Robert Browning’s dramatic monologists and Joseph Conrad’s anti-heroes, we’re not meant to judge Cromwell, but to empathize with him … Mantel’s use of historical fiction is also a critique of it. Bring Up the Bodies gets at the idea that our faith in a country’s history — in a kingdom’s icons — are ultimately retrospective effects of national feeling. One’s idea of the nation, like one’s portrait of the past, is just a story, and likely punctured with gaps, scattered with half-truths, if not full-out lies.
Ruth Franklin
Rave The New Republic For any fanatic reader of Shirley Jackson, A Rather Haunted Life might give you vertigo. It is a biography in which the writer’s understanding of her subject feels, at times, eerily intuitive ... When reading Franklin’s masterful account of Jackson’s life, one senses how profoundly Jackson’s fiction draws from personal experience ... Franklin’s book reminds us that whether something actually happened or not is not necessarily what differentiates fiction from non-fiction.