At National Public Radio, Heller McAlpin reviews Shalom Auslander’s Hope: A Tragedy.
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At National Public Radio, Heller McAlpin reviews Shalom Auslander’s Hope: A Tragedy.
Many readers suffer a tormented relationship with book jackets or, as most people call them, dust jackets. I certainly do. In my youth, I admired the private libraries of writers and professors who discarded these garish and easily torn outer coverings from their books, leaving only the subdued cloth bindings. As a result, serried rows of soft blue and faded burgundy lined their substantial mahogany shelves. To my youthful eyes, such personal libraries looked grown-up, serious; the books were clearly tools rather than icons or decorative objects for furnishing a living room. Nonetheless, en masse they still conveyed a welcoming, clubbable warmth suggestive of leather chairs and brandy.
Michael Dirda of the Washington Post reviews G. Thomas Tanselle’s Book-jackets: Their History, Forms, and Use.
In the Observer, Alex Preston reviews Jon McGregor’s This Isn’t the Sort of Thing That Happens to Someone Like You.
The 30 fiercely imagined stories in Jon McGregor’s collection share an extraordinary topophilia: each bears as its subtitle the name of a fenland town or village, and even in tales that range widely across space and time we never lose touch with the flat Lincolnshire landscape.
For The Nervous Breakdown Shannon Elderon reviews Gary Lutz’s Divorcer.
From Ulysses to Martin Guerre, the story of the delayed return speaks to the ineffectual wish that our stories will not all end tragically. Hoping that a disappearance is only a long absence, we continue to expect miracles, less impossible in our frightened minds than the finality of an unknown death.
In the Guardian, Alberto Manguel reviews Purgatory by Tomás Eloy Martínez.
At National Public Radio, Michael Schaub reviews Chan Koonchung’s The Fat Years.
The narrator’s account is an odd mix of confidence and uncertainty: there’s little she can pin down, yet her narrative moves steadily, firmly along, and she seems largely untroubled by all the uncertainty in her life; she accepts it as an almost natural condition.
Michael Orthofer reviews Iosi Havilio’s Open Door.
Michiko Kakutani of the New York Times reviews Thomas Frank’s Pity the Billionaire.
(Bonus: Fake Kakutani on Twitter.)