Books & Fiction

In ‘Zona,’ Geoff Dyer Attempts to Uncover the Mysteries of a Cinematic Masterpiece

Elizabeth Pyjov

Geoff Dyer introduces his book Zona with a phrase attributed to Albert Camus: “Perhaps, after all, the best way of talking about what you love is to speak of it lightly.” Dyer then goes on to write about Andrei Tarkovsky’s intellectually demanding and spiritually compelling film, “Stalker.” Dyer stays true to his epigraph, speaking of this film so lightly, that he glides over the surface and does not enter the movie’s depths. What results is far from an intellectually demanding book; it is like cautiously soaking one’s feet in the pool rather than jumping inside and feeling the full sensation. 

Authors Simpson, Englander Showcase Diverse Range of the Short Story

Lee Polevoi

The short story is an infinitely variable and elastic thing, able to accommodate almost any type of narrative. This mutability may be the key to its survival and, judging by these two new collections, its continuing ability to astonish and delight. A short story can be lean or expansive, encompass whole worlds or deliver truths in an electrifying micro-second. At its best, the form deepens our grasp on what it is to be human in ways that no other art form quite duplicates. New works by Nathan Englander and Helen Simpson capture this variability with a range of entertaining and technically proficient stories.

Author Alec Wilkinson Explores Arctic Adventures

Lee Polevoi

Swedish engineer Salomon August Andrée and two compatriots set out in 1897 to fly to the North Pole via a hydrogen balloon. The plan was to begin the trip as close to 90 degrees north as possible, so the balloon would sail over the pole and come to a landing in Alaska. This breathtaking (and wholly unprecedented) expedition caught the attention of the world, but after the balloon lifted off an island in the Svalbard archipelago, it and the men aboard were never seen again.

Smaller Publishing Houses Provide for a Rich, Diverse Literary Landscape

Gerry LaFemina

On a warm Friday night in October in Frostburg, Maryland, a small college town in the Allegheny Mountains, some 75 people sit in Main Street Books listening as four editors introduce a writer each from their respective publishing house.  This is the kickoff event of the Frostburg Independent Literature Festival, one of many such events celebrating independent publishers happening every month around the country.  The editors all say the same thing: What they do is about the writers.  It’s about publishing work they believe in.  It’s about getting good books into the hands of readers.

Author Penelope Lively Wonders ‘How It All Began’

Lee Polevoi

The mugging of an elderly woman on a London street sets things in motion in Penelope Lively’s 22nd novel, How It All Began. This expertly rendered opening scene (“The pavement rises up and hits her. Slams into her face, drives the lower rim of her glasses into her cheek”) lays the foundation for rippling events that directly affect nine different individuals.

Stalking Graham Greene

Lee Polevoi

In The Man Within My Head, British-born travel writer Pico Iyer attempts to uncover the source of a nagging, lifelong obsession. Why does Graham Greene, one of the 20th century's most accomplished writers, continue to haunt his life years after the great man’s death?

Rediscovering the Joy of Quiet: Thank You, Pico Iyer

Sandip Roy

When a friend forwarded me Pico Iyer’s recent New York Times essay, “The Joy of Quiet,” I was squashed in the back of a Maruti shuttle van on the Eastern Metropolitan Bypass of Kolkata....The honking din of traffic around me was deafening. The construction happening on the bypass added its grating groan to the general bedlam. The Maruti rattled and creaked, the FM radio non-stop hits swelling and garbling with each bump on the road. Every single person in the shuttle was shouting into their cell phone. I wanted them all to stop, take a deep breath and read what Iyer had to say.

Et Tu, Tintin?

Sandip Roy

From New America Media and Charles de Gaulle famously said, “My only international rival is Tintin.” Now Hergé’s Tintin  has his own rival — [Steven] Spielberg’s Tintin. The (battle)lines are drawn. What should be an homage from one master storyteller to another will instead become a battle of technique — Hergé’s ligne claire vs Spielberg’s CGI. The complexity of the simple will become simply complex and the trepidation is that somewhere in that dimensional leap we may find the secret of the unicorn but lose forever the secret joy of Tintin.


Julian Barnes and the Minefields of Memory

Lee Polevoi

In The Sense of an Ending, winner of the 2011 Man Booker Prize, Julian Barnes has achieved an oddly remarkable thing: He’s written a long novel in the form of a short one. It spans the lifetime of Tony Webster, a late-middle-aged Englishman of no special distinction who receives a mysterious bequest of £500 and is prompted for the first time to reflect on how his event-filled adolescence has influenced the outcome of his adult life.

Don DeLillo Stories Offer Terror and Dread in Captivating Prose

Lee Polevoi

Reading the stories in The Angel Esmeralda reminds us how varied, adept, intelligent and ruthlessly honest this great writer has been from the beginning.  Like his novels, each of these stories trades in dread and terror, and our failure to connect in the fractured and chaotic past half-century.


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