Already done reading our latest Issue? Prolong the fun with these weekend reading recommendations from our Issue 18 contributors.
Recommendations: The Weil Conjectures by Karen Olsson; Marjorie Morningstar by Herman Wouk; 7th Cousins: An Automythography by Erin Brubacher and Christine Brubaker; How To Do Nothing: Resisting the Attention Economyby Jenny Odell
The protagonist of Mahir Guven’s debut novel, Older Brother, is the son of a Syrian emigre taxi driver and a French mother who has died by the time the story begins. He is in his late twenties. An Uber driver addicted to hash, he is living in a suburban ghetto outside of Paris he calls “the dump of France.” He fears his ennui, induced by the indifference of the countless customers he ferries around, might kill him. But despite the jadedness, his caustic humor enlivens him, endowing his fulminations with a faint existential quality.
Issue 18 is almost here! Pre-order your copy today to enjoy brand-new fiction, poetry, essays, and artwork arriving on October 28th. If waiting by the mailbox isn’t your thing, countdown to the magazine’s arrival with book recommendations from some of our Issue 18 contributors.
Recommendations: Evolution of Desire: A Life of René Girard by Cynthia L. Haven; Loves You: Poems by Sarah Gambito; A General Theory of Oblivion by José Eduardo Agualusa; The Farm by Joanne Ramos; and Mirror, Shoulder, Signal by Dorthe Nors.
What does it mean to “rewrite the body?” To dive deeply and lose ourselves in Wyatt Townley’s fourth book of poems, we must think of “body” as physical human frame; body as door, as house; body as a lifetime’s work, needing to be revised, re-visioned, reclaimed. Rewriting is a daily task, a practice, and the body—the poem/house—source of both refuge and danger, of “both / basement and / torna- / do/,” is also a source of connection with the world.
If you’re already as excited as we are, please enjoy this month’s Friday Reads as a special treat – featuring reviews from editors at all the winning publications.
Recommendations: When You Learn The Alphabet by Kendra Allen; Two Lives: A Memoir by Vikram Seth; The Year of Blue Water by Yanyi; Shade It Black: Death and After in Iraq by Jess Goodell; A Feather on the Breath of God by Sigrid Nunez.
Maria Terrone’s grandparents were among the estimated nine million people who emigrated from Italy between 1881 and 1927. While her parents were born in the United States, her connection to Italy is deep, informing her identity and experiences as much as being a lifelong New Yorker has.
Review: Hurtling in the Same Direction – At Home in the New World
Contemporary books emerging from post-Soviet countries often deal with the dehumanizing effect of the region’s systems of government on its victims, seeking to trace and partially redeem the psychological and physical harm many have suffered. For understandable reasons, few authors care to look at the perpetrators, at the people who committed murders and mass murders, informed on and denounced their neighbors. Yet, in the post-Soviet reality, often it’s these people and their descendants who have risen to the top, taken charge of the new nation states, and written their laws.
Review: Farewell, Aylis: A Non-Traditional Novel in Three Works
“If I’m going to tell you the story of how I lost two people who were closer than blood to me, I have to begin here in Dennett, Texas, during the summer between the sophomore and junior years of my life. This story begins as it ends, with me, Cirilo Izquierdo, waiting for what all of us spend our whole lives waiting for: not to be alone anymore.” — Throw: A Novel, by Rubén Degollado
If I offer you the words contemplative novel, you may not immediately picture—for example—someone getting stabbed in the leg with a pencil. You may not picture a tangle of high schoolers fighting and flirting, fueling rumors and throwing shade and roaming lowrider car shows.
The Souvenir, British director Joanna Hogg’s fourth feature film, is the first part of a two-part memory piece that focuses on a love affair that took place in Hogg’s early twenties, when she was in film school in London. Though not quite a memoir, the film is unabashedly autobiographical, and similar to Alfonso Cuaron’s recent Roma in how it seeks to reconstruct a particular period in the director’s life. To play a version of herself, a young woman called Julie, Hogg has cast Honor Swinton Byrne, a newcomer who at this point in her life is best known as Tilda Swinton’s daughter—though her performance in The Souvenir and next year’s sequel will likely change that. Swinton herself plays Julie’s mother, Rosalind, tamping down her usual charisma to embody a meek matron who rarely exerts her influence or reveals her knowledge of the world. It’s startling to see Swinton this way, especially with Byrne nearby, exuding youth and curiosity. With her height and her red hair, Byrne looks enough like Swinton to bring to mind her mother’s glamour, but also has a calm dreaminess that it is all her own.
Review of The Souvenir: Is She Really Going Out with Him?