Anne Enright’s prose, especially when she is firmly rooted in Ireland, sings; she has the ability to get the details both of setting and character, and a wonderful ear.
A series of new and recent recordings by Boston orchestras demonstrate that, in the right hands, symphonic music since 1945 remains alive and well, still powerful, fresh, and vibrant.
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.
Nina Schuyler’s uneven novel raises some interesting questions in the course of the protagonist’s quest, and there are many fascinating details about Japan and Noh plays and the power of silence.
Despite his weakness for overwriting, Bob Shacochis has a good and sad story to tell, and he gets through it with a degree of mastery.
In spare, exact prose Cristian Comencini lets this story unfold against an Alpine setting that is so vivid it, too, becomes a character in this strangely compelling novel.
Author Margo Livesey has pulled off a considerable literary trick: a page-turner that is also a moving, realistic, subtle, and eminently wise coming-of-age novel.
Perhaps the novel is not the most original read, but AN ACCIDENT IN AUGUST contributes to the growing number of literary meditations on the evolving pathology of celebrity,
THE FUTURE, director/actor Miranda July’s followup to 2005’s ME AND YOU AND EVERYONE WE KNOW is brave, unexpectedly poignant and devastatingly sad.
There is no question that somewhere in this collection poet Daniel Borztuzky is drawing a parallel between bureaucrats and terrorists, between politicians and increasingly dehumanized societies—both in America and abroad—but the connections are like underground cables: I can only guess at where I might dig to uncover them.