Reviewed by Tony Malone
Most readers of Baboon will have appreciated the way Aidt composed a series of spiky, cutting scenes, full of damaged yet compelling characters, and in Rock, Paper, Scissors the writer expands these vignettes into an extended car crash of a novel.
Reviewed by Rosie Clarke
A Planet for Rent is Yoss’s thinly veiled, scathing critique of 1990s Cuba, using the genre of science fiction to elude censure... Satirizing our fear of subjugation and the other, Yoss’s implementation of aliens very literally confronts contemporary anxieties about immigration and diaspora.
Reviewed by Jane Yong Kim
Centering her tale on the love and lust of a young couple in the Parisian underworld allows Garréta to train our eyes on the physical beauty of youth, the sensuality of anonymous bodies, and our preconceptions regarding both. The bodies of je and A***, left bare of gender markers, create the need for a new, more vigilant kind of reading that involves a constant undoing of assumptions.
Reviewed by Lucy Renner Jones
Shishkin remains skeptical that language itself can cross borders—for example, in translation. For him, the problem lies in the incompatibility between translated texts and their readers.
Reviewed by Kate Prengel
In The Lights of Pointe Noire, Alain Mabanckou attempts to reconnect with his home, his family, and his own sense of place in the world—and his readers are along for the ride.
Reviewed by Dorian Stuber
A Brief Stop on the Road from Auschwitz—part history, part memoir, part essay on the meaning of survival—insists that the Holocaust didn’t end in 1945. The book challenges the powerful redemptive narrative offered by even official histories
Reviewed by Victoria Baena
Kamel Daoud's The Meursault Investigation is a tale told in order to give the anonymous victim in Camus’s The Stranger a name—Musa—and a story of his own.
Reviewed by Tristan Foster
Kassel is a work of chaos. On the surface, this is narrative by association, the aestheticization of the experience of confronting contemporary art, which inevitably includes the turning over of one’s ideas of what is and what isn’t art.
Reviewed by Anna Aslanyan
In following its own strict logic, Allemann’s fine-tuned absurdism evokes Beckett, who would feel equally at home in the old man's house, with its “bottle room” and “paper bag room,” and on his bench.
Reviewed by David Hebblethwaite
It’s a novel of thresholds and permeable borders, but it begins with holes: a sinkhole that forms as the protagonist, Makina, is watching, in a town “riddled with bullet holes and tunnels bored by five centuries of voracious silver lust.” This is an opening scene which fuses the upheavals of nature with human violence and greed, underlining the instability that runs throughout.
Reviewed by Scott Esposito
What is impressive about The Dream of My Return is how it manages to have it both ways: to treat the Freudian psyche like the cheap myth it is, but to also show that when push comes to shove, we will rely on it because we need it.
Reviewed by Jeffrey Zuckerman
Jean-Philippe Toussaint’s novellas astonish in how they allow us into the heads of his unexpectedly fascinating narrators. Appropriately enough, his slender essay collection, Urgency and Patience, take us just as deeply into the mind of this singular author.
Reviewed by Jonathan Morton
The landscape to be explored is one shaped by nation and culture almost as much as it is by personal experience. This landscape, in Schoeman's novel, is one that crosses back and forth between the borders of the great semi-desert region known as the Karoo, which began to be settled and developed in the late-nineteenth century.
Reviewed by Dustin Illingworth
It would appear that to write about Blecher is, in some sense, to write about a broad swath of European modernists in a game of contextual one-upmanship.
Reviewed by Lori Feathers
In her remarkable novel The Vegetarian, South Korean writer Han Kang explores the irreconcilable conflict between our two selves: one greedy, primitive; the other accountable to family and society.
Reviewed by K. Thomas Kahn
The Door continues to be eerily resonant, as Szabó’s consideration of the changing sociopolitical terrain in 1950s–1960s Hungary speaks across borders of time and place.
Reviewed by John Anspach
Regina Ullman, the Swiss-born contemporary of Herman Hesse, Thomas Mann, and Rainer Maria Rilke, has finally made her English-language debut with a collection of haunting and beautiful stories.
Reviewed by Scott Borchert
There is a certain pleasure to be found in reading a book that was publicly burned by the Nazis.
Reviewed by Darragh Mcnicholas
Talk is not only the “principal character in this book,” as Titley writes in his translator’s note, it is the book.
Reviewed by Megha Majumdar
In his nostalgic yet critical gaze, the introduction of home computers in those years becomes a symbol for larger reconfigurations of solitude and companionship.