Reading Amparo Dávila’s stories is like accepting an invitation for tea at a haunted house.
As Smarsh unfolds her family's story, she offers sharp commentary on the structures that both shame the poor and perpetuate the cycle of poverty.
Nuruddin Farah has written a story about family, both the families we belong to by blood and the ones we forge for ourselves out of...
The book’s final line is a warning as much as an entreaty: “Don’t ever let them talk you out of being mad again.”
David Rosenthal is clearly a masterful translator of the original Catalan — you can see Rodoreda’s pen at work behind his translation.
This Sunday, the long-awaited HBO adaptation of Elena Ferrante's My Brilliant Friend premiered, the first book in her Neapolitan novels quartet.
Museum of the Americas interrogates the white gaze and how the curation of the archive is another palimpsestic layer of control and power.
Inger Christensen’s poetic hypothesis houses the intimacy between an arrangement of the poem and content to curate layered meaning.
Killing Commendatore is the most recent entry in Haruki Murakami’s canon of sensory and supernatural games of chance.
Adjei-Brenyah lays out the many ways the enlightened interact with a broken world: they laugh, cry, shake their fists at it, or remain indifferent.
Tana French's The Witch Elm gives rise to real questions about identity, the nature of self-perception, and the limitations of being in your own head.
If good creative writing sparks the instinct to write, The Shell Game provides ample embers to inspire a wide range of writers.