March 5, 2014
by Sally Satel
Life for Scott Stossel has been a gauntlet of morbid what-ifs: what if I pass out, lose control of my bowels, bolt from the podium in the midst of a speech? To keep such mayhem at bay, he’s medicated himself with bourbon, scotch, gin, and vodka. By prescription, he has taken Klonopin, Xanax, Ativan, Imipramine, Wellbutrin, Nardil, Thorazine, Zoloft, Effexor, Paxil, and Propranolol.
March 5, 2014
High genre is fiction that allows you to investigate an individual text, because it is full of its own traits and merits, whether in its characterizations, its plot, or its prose. Regular genre, I suppose, is something you can only talk about as a family — tracing the themes shared collectively among its members. High genre will always be vulnerable to the taint of its lower peers, because it shares the equipment, the same beats. This is why people are drawn to True Detective, and yet can accept assertions that it is just another dead naked lady show.
March 4, 2014
What was clearly intended as a series of artsy-smartsy essays examining the state of play in literary America too often comes off as an extended moan of self-pity from a once-cosseted corner of Brownstone Brooklyn.
February 28, 2014
The prognosis? It’s not good. Ugrešić laments what has become of the author who has to perform to earn a pittance and a hot meal. She laments a culture where action and image trump the self-doubt and time for contemplation.
February 24, 2014
by Greg Walklin
What the book may lack in personal revelations about the author, it makes up for with a better understanding of his process.
February 21, 2014
And the food! If nothing else (and there is plenty else), the novel revels in its cuisine. Sentences are peppered with exquisite dishes throughout and take detailed note of the textures and presentation and garnishes, allowing reader gorge. Dishes served include pig’s ear, hard salami, putty-colored lambs tongue, rabbit ragù with pappardelle, salted brittle, and sardines.
February 14, 2014
by Matt Seidel
A hint of menace creeps in; the title seems less and less like a question or plea and more like an imperative to submit to Eros and the attendant havoc.
February 10, 2014
by Matt Seidel
I can think of no better way to honor both the man and his singular hero possessed of an “incurable wanderlust” and a “vocation for defeat” than by quoting the latter’s bathroom graffiti, bits of wisdom written by the Gaviero in his seclusion.
January 31, 2014
The question implicit in Gazdanov’s fascinating novel is whether such macabre determinism is self-perpetuated or inalterably woven into the fabric of our existence. Does believing we are doomed to die in a particular way bring about that very end — or do we believe it because we know in our prescient soul it’s the inexorable truth?
January 29, 2014
by Stefan Beck
Want Not craves pride of place with such “sprawling” novels of social commentary as Infinite Jest and Freedom. Surprisingly, though, it turns out not to be a didactic story about reducing, reusing, and recycling. It may be just the opposite, a subversive argument that we are focusing our attention on the wrong sort of waste.