Books
As with any Richard Powers novel, when you finish “Orfeo” you will have no doubt you are alive, awake, and likely ready to start over at page one.
I don’t share Rebecca Mead’s awe for “Middlemarch,” but I share her enthusiasm for stretching the envelope of memoir.
In Donna Tartt’s much-lauded third novel, Fabritius’ painting “The Goldfinch” and the fleeting nature of, well, everything comes together for a brief and shining moment.
Cohen devotes little space to Bernard Berenson’s art historical methodology, now largely superseded by modern approaches. She relates Berenson’s less admirable qualities without judging them.
We become increasingly aware that we are in the mind of a doctor who has taught himself to observe carefully, who has an amazingly strong will to survive, and who chooses not to waste precious time and energy on anger or revenge.
Using her family’s history as a springboard, Julia Franck has created exemplary figures forced to navigate the treacherous shoals of her country’s history.
“Before I Burn” gives the reader the awesome sense of a fully perceived life—the hallmark of great art.
“Heat” is a fictional interview in which Dickinson asks uncomfortably intimate questions and then imagines the answers Seberg might have given.
After 2010’s too spare “Three Stations,” fans old and new will find Martin Cruz Smith back in full form with “Tatiana,” creating a taut, subtle, often darkly funny and even moving tale.
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