Yale-University-Press
The Dirty Dust is a novel of almost unbelievable invention, humor, pathos, eloquence, and fury.
Harvard Divinity School professor Kevin Madigan’s scholarly but always compelling exposition of the evolution of the church will spark introspection among practicing Christians.
To his credit, Garry Wills does not attempt to tell us what Shakespeare or his contemporaries “really meant,” nor does he suggest that there are ways that these plays ought be staged.
The prose of Patrick Modiano, this year’s Nobel prizewinner, has a distinctive French style whose directness and grammatical limpidity by no means exclude semantic depth and complexity.
Elizabeth Harrower’s In Certain Circles is a stunning novel about class and marriage and power; Can Xue’s The Last Lover is a tedious surrealistic farce.
Serbian writer David Albahari’s fascination with uncertainty fuels a grim, sardonic tragi-comedy in which silence plays an elemental but enigmatic role.
On more than one occasion in The History of Rock ‘n’ Roll in Ten Songs Greil Marcus argues that the original recordings of some of his picks don’t hold a candle to their cover versions.
There’s room to wonder if Vladmir Jabotinsky would have accepted Menachem Begin, Ariel Sharon and Benjamin Netanyahu as his legitimate Zionist heirs.
YUP’s uneven Jewish Lives offers a series of short, accessible biographies that could become a significant literary mural, showcasing the scope of Jewish culture.
The books are bleak in that Pierre Michon provides no reassuring, idealistic view of the creative urge. Art leads to no transcendence, no permanent uplifting sentiment. Making poems or making pictures is a rough daily business.
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