Arts Fuse Editor
Strange Hotel focuses on a woman’s life in middle age, suspended between the hollow satisfactions of memory and anxiety about the future.
The only way forward, to go beyond American myths of innocence, is to confront the enduring crimes of the past.
I was blown away by how good After We Leave looks, its subtlety and plausibility and confident simplicity.
Gish Jen’s new novel asks, Is ambition worthwhile in a world without justice?
New recordings of Peter Schmoll and His Neighbors and of Euryanthe pose an embarrassing question: why is the opera repertory so narrow?
A victim Adrienne Miller is most certainly not: the self-portrait that emerges in her pages is of an accomplished, wise, wittily self-deprecating author of her own destiny.
The amazing Bereishit Dance Company asks how dance fits into the physical world.
The Field is a fairly original, if slightly problematic, folk horror-tinged story.
Lawrence Joseph makes the case that representing violence in verse is necessary because of poetry’s value as art: to concisely capture these deadly events.
Amina Cain’s style is unusual, and it may tow readers so rapidly through this brief novel they won’t look back.
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