Clea Simon
James Lee Burke’s “Clete” is Beat poetry, suffused with sadness and longing for all those sunsets now gone.
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“I wanted to explore the real nature of guilt and innocence, and why it isn’t easy for society to forgive.”
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As in her previous thrillers, Donna Raybourn’s dry wit serves double duty: defining our erudite heroine and presenting her view of a world that does not know what to make of her.
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Melinda Taub’s thoroughly enjoyable new novel joins other notable pastiches of Jane Austen’s classic story.
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When “The Secret Hours” flares up – notably on two separate, devastating occasions – the story delivers more emotional heft than Mick Herron’s previous books.
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For all the sensual lushness of Melissa Broder’s writing, that hard center remains, one where appetite invites awareness, bringing with it pain as well as satiety.
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Penny, whose many moods are sensitively drawn in this softly colored volume, is, perhaps like all cats, a philosopher.
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At 70, Marcia Ball is a non-stop pro, particularly at pacing. Early barn burners gave way to the slow blues of “Just Kiss Me.”
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By taking the stage with 15 musicians, none of whom is female, the Jazz at Lincoln Center Orchestra presents the music as segregated and outdated.
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Music Commentary: New Orleans Jazz and Heritage Fest versus French Quarter Fest
Which is the best fest? It’s up for grabs.
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