Readers of THE MASOCHIST in translation may be less aware of Perat’s poetic prose, but few are likely to experience this as something that undermines the cogency of Nadezhda Moser’s voice.
This Could Have Been Ramayan Chamar’s Tale – Subimal Misra
As Subimal Misra’s fiction demonstrates, there can be no definitive answer to the question of what makes a novel a novel — only as many possibilities as we imagine.
Catherine the Great and the Small – Olja Knežević
Knežević’s relentless chronicling of the ravages of heterosexuality and women’s centering of men invites us to read the novel as a quiet act of queer subversion in a hostile Eastern European climate.
Andre Gide invites the reader’s doubt into the ability of the novelist (both himself and his narrator) to control the meaning of his novel.
The Distance – Ivan Vladislavić
His interest in the potential of the fragment as a form of fiction that bears witness to political truth, is ever yielding.
Igifu – Scholastique Mukasonga
As her characters find themselves unable to articulate what has transpired, her stories verbalize the horror of genocide in ways drastically abstract, beautifully and imaginatively rendered.
That Hair – Djaimilia Pereira de Almeida
Narrator Mila’s story — or stories — of her hair, the different phases of treatments, evolving senses of attachment, dissociation, indifference, and reinvigoration concerning her hair, are naturally diminutive allegories for a larger postcolonial existential journey.
By narrating natural destruction in a neutral tone, Fauna models one way that climate-fiction can serve environmentalism.
CHRONOLOGY is a polyvocal text, a poetics of archive. The act of reading feels akin to debriefing with a friend. The impulse to help pull it together collectively.
Little Eyes – Samanta Schweblin
In the cyborg fable, it’s not just the perpetrator who suffers at the end.