The mélange of information is surprisingly coherent and unflaggingly intense.
PANOPTICON is ultimately a profoundly optimistic work, a leap of faith that chooses to revel in the opacity of language because — well, just because.
Most haunting of all is the prospect of losing one’s perceptive abilities.
Almost Never is like a comedy of manners cut with a pulpy erotic novel, a social satire impelled by a dripping lecherousness. Most of all, it’s a fantastic, exciting book.
The Sugar Frosted Nutsack – Mark Leyner
When attempts to completely reconfigure our idea of the novel don’t wind up working, one starts feeling all the more pained by the absence of the fundamentals of fiction.
Imagine the British Museum and you have a pretty good idea of how McCarthy’s literary output is structured.
From the Umberplatzen – Susan Tepper
Not only is a picture worth a thousand words, but a thousand words is worth exactly that: a picture. A scene. Something developed just enough to look at, but no more.
Reticence – Jean-Philippe Toussaint
Toussaint’s novels are filled with darkness and light, both of which are consumed, inevitably, by a gray fog.
The Vanishers – Heidi Julavits
Is it really possible that a gifted psychic wouldn’t pick up on some of this stuff?
Suddenly, a Knock on the Door – Etgar Keret
After all, what is fantasy if not a wish for something new, something else, for some “knock on the door”?