Books

Book Review: Mathematicians in Combat — Michèle Audin’s “One Hundred Twenty-One Days”

April 11, 2016
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Audin scrutinizes political commitment when it is undertaken by representatives of an intellectual discipline detached from the real world.

Book Review: Stories by Korean Women — Sad Brilliant Inventions

April 10, 2016
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What could have been excursions into monochromatic despair are elevated, through resourceful inventiveness, into exhilarating journeys.

Book Review: Christopher Hitchens — Final Stings From the Gadfly

April 8, 2016
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These pieces could have been written yesterday, which speaks volumes about the eternal recurrence of the moronic inferno of the political.

Book Review: An Uneven “Bottomland”

April 5, 2016
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Perhaps in the future Michelle Hoover will let her very real talent take her into the unknown, where narrative and myth merge.

Book Review: “Shylock Is My Name” — And the Problem Remains

April 1, 2016
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Despite this, he is vexed by how the play draws out the anti-Semitism of English audiences

Fuse Book Review: Poetry in the Rough — Jean-Paul Clébert’s Graphic Evocations of a Clandestine Paris

April 1, 2016
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An extraordinary book that should be in the hands of every lover of the French capital. And don’t we all love Paris?

Book Review: “Liberty’s First Crisis” — Oddballs to the Rescue

March 31, 2016
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Liberty’s First Crisis presents reminders that elected officials have always been capable of uncivilized behavior toward their colleagues.

Book Review: “All the Single Ladies” — Essential Reading

March 28, 2016
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All the Single Ladies is an ambitious book, packed with so many interesting people and ideas that I often wanted to hear far more about each.

Book Review: “Really the Blues” — Memorable Tales of Jazz Age Derring-do

March 26, 2016
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For all his memoir’s faults, Mezz Mezzrow’s rambunctious enthusiasm for jazz and the world it shaped and defined keeps the pages turning.

Fuse Book Review: “Beasts You’ll Never See” — Short Stories that Elicit Shrieks of Hilarity

March 25, 2016
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Nate Liederbach demotes plot and Aristotelian mechanics, replacing them with the acrobatics of a beer-loud voice.

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