It would be oblivious to deny that Watkins in part shares her visions of sweltering badlands with writers like Joan Didion or Denis Johnson.
It comes to life as a touching portrait of storytelling’s way of restoring (and creating) fully-fleshed family units.
Each chapter is a testament to Mitchell’s ability to call forth an entire character’s life with an economy of language that’s beguiling.
Rushdie bellows A Thousand and One Nights’s narrative influence in a sprawling novel that’s an ode to storytelling.
The tension in the novel comes from Eileen finding within her a certain strength she doesn’t want to lose, finding her voice and realizing that it’s worth being heard.
Kleeman has an astute eye for pop culture, and her postmodern send-up of consumerism will remind readers of Don Delillo’s White Noise.
It may be centered around a dead man and the past, but at its heart it’s a book more concerned with the pain the living carry and the future it has shaped.
At 80 years of age, the iconoclast evinces the same passion that has animated his provocative work up to this point.
This time, Anderson comes to play from the outset, with a sense of openness, and of shared intimacy with Seitz, that might be somewhat misleading, but is nevertheless revealing.
The likelihood of finishing so quickly only enhances the resonance: The text itself becomes a moment that can pass.
The pleasure of writing, of pairing words with another to create a distinct or lingeringly atmospheric or poetic effect, seems beyond King’s concern these days.
Maureen Corrigan's deconstruction of the novel in the context of noir, or “hard-boiled” detective fiction, offers a refreshing perspective.
At 221 pages, it’s a tightly knit piece of fiction, an elegant examination of a complicated problem.
The novel suggests a print fusion of the filmmaker’s early, grungy, bluntly metaphorical work with the subtler, formally refined, classical elder-statesman films of his most recent period.
The narrator is not an aloof artist, but someone absurdly tied-up in the daily neuroses of the modern world.
Mizruchi provides analysis that’s offered a bit too much as objective fact.
Besides a number of instances of clunky, clichéd writing, Pascale has a tendency to summarize and explain every movie and episode she references.
Palin’s depiction of Hamish Melville, the impossibly ethical activist against which Mabbut compares himself, is handled unexpectedly.
A compassionate, pragmatic anti-sentimentality, or an attempt at one, serves as the through line for his examination of one the most mythologized of all screen actors.