Mary Gabriel flips the popular narrative, allowing us to reassess the people, the art, and the moment — the rise of Abstract Expressionism — through the lens of the women who lived it and forced the art world to make space.
Where The Sun Also Rises is post-war, Normal People is post-recession, late capitalism. And, like Hemingway, Rooney’s writing is sparing, never dwelling longer than necessary. It’s a more modern writerly confidence.
Rebecca Makkai is masterful, balancing forces near perfectly: the sweep of history pulling everyone into its vortex; and the human dramas that play out all the same, “the messes we make on our own.”
Undercover in Occupied France, Virginia Hall would organize the ambush of Nazi supply trains, call down Allied bombs, and orchestrate complex supply drops to fuel the Resistance.
Colum McCann is probing memory and stretching the limits of the novel. And not just the memory of his protagonists, but the memory of the land itself. The result is transportive, sweeping but rooted in humanity.
The literal magic is front-loaded in Sharks, but some of the best magic comes toward its conclusion, with Washburn pushing us to broaden our conception of what is magical. It is a welcome debut.
COVID and Chronicle have me reflecting on that kind of crisis: the slow-moving, everyone-knows-it’s-coming kind of threat.
Thousands of people needed alternative rides during the bus boycott. It was Ms. Johnnie Carr who organized to keep a massive carpool running for over a year.
Fossils show that Dunkle liked to binge and would sometimes eat so much that she would get sick and regurgitate her food.
Big Magic is about cultivating inspiration, and having the courage to live a creative life. For Elizabeth Gilbert, there is magic in this.