It is most effective when it dwells on the sad influence of history, on personal tragedy, on the banality of evil and cruel indifference.
Jim Harrison’s prose is gorgeous, illuminating. The simple language slides into your head and resonates there.
My biggest gripe is with a central tenet of Jonathan Franzen’s fiction: communication between generations is impossible.
One of the hardest things to do as a writer of contemporary fiction is to create characters who are good.
The events Colin Barrett renders in Young Skins have the texture of life, albeit the darker side, in that they puzzle and disturb and linger painfully.
Yasmina Reza’s dollhouse of a novel is a miniaturist’s miracle.
Charies D’Ambrosio’s short fiction collections were finalists for major awards, but it is his essays that I return to again and again.
So much of what this novel has to say feels bracing and necessary. This is where a good part of America lives—dangling over a chasm.