Sea, Land, Shadow by Kazuko Shiraishi, trans. by Yumiko Tsumara (New Directions Books, 2017)
Reviewed by Clara Guyton
Nicknamed “the Alan Ginsberg of Japan” by Kenneth Rexroth, Kazuko Shiraishi brings readers a sight-seeing drive through the mystical mountains of Japan in her collection Sea, Land, Shadow, complete with sharp turns and curves, moments of awe-inspiring depth and darkness, and instants of effervescent lightheartedness.
“on a mountain road in a traffic jam
I have poetry, so I’m fine…” (8)
As we embark on a new decade, I wanted to provide a guidebook for a year of reading – a list which might offer, loosely, a template for reading to encourage you to hear new voices, support new authors, and step outside your comfort zone.
The Choice: Embrace the Possible by Dr. Edith Eva Eger (Scribner 2017)
Reviewed by Patricia Steckler
I’d sworn off Holocaust stories permanently. Or so I thought. Twenty-five years ago, Schindler’s List, Stephen Spielberg’s film, nearly did me in. Soon thereafter, I burst into tears in the lobby of the Holocaust Museum in Washington, DC, before even picking up admission tickets. Thousands of pairs of shoes taken from murdered prisoners at the Majdanek concentration camp, displayed in the museum’s lobby, felt crushing.
The Proposal by Jasmine Guillory (berkley books, 2018)
Reviewed by Katie Centabar
Every once in awhile there is a book that makes you giggle, flush with embarrassment and curl your toes. I remember them from reading as a teen. Specifically, Sarah Dessen whose books always promised a teen new in town who 1) meets someone who is misunderstood, 2) experiences a traumatic loss and must start over, or 3) both – and drama and hilarity ensue. Jasmine Guillory writes those books for an adult audience.
Who Killed My Father by Edouard Louis (New Directions, 2019)
Reviewed by Aaron Scobie
There is a woe filling in the white space of these pages. A woe spoken incredibly soft. Who Killed My Father is a short memoir by the French writer Édouard Louis. Simultaneously literal and metaphorical, the book approaches the unique and distant relationship between Louis and his father.
“You apologized. These apologies are a new thing with you, I have to get used to them”
Once & Future by Amy Rose Capetta and Cori McCarthy (Little, Brown, and Co., 2019)
Reviewed by Maayan D’Antonio
Ari Helix is a refugee who has no impulse control. So when she sets off alarms
she shouldn’t have on Heritage, a spaceship that belongs to the
tyrannical Mercer Company, she and her brother Kay escape from the ship and
hide on Old Earth, now a desolate planet. But when Ari pulls Excalibur from a gnarled
tree, she unknowingly sets into motion a new cycle of the King Arthur legend. A
cycle she doesn’t know has anything to do with her.
in the dream house by carmen maria machado (graywolf, 2019)
Reviewed by Rebecca Valley
I know many writers obsessed with houses. Houses contain us; we fill them up with ourselves. We share them with our families, lovers, histories, ghosts. In poetry, stanza is another word for room – this makes each poem a house, a self-contained world of its own.
look how happy i’m making you BY POLLY ROSENWAIKE (DOUBLEDAY, 2019)
Reviewed by Gregorio Tafoya
“1. Lack of Interest in Your Baby”
starts the quietly explosive “Ten Warning Signs of Postpartum Depression”, a thick middle piece to Polly
Rosenwaike’s short story collection, Look
How Happy I’m Making You—best said in a sleep-deprived, low, gravelly tone.
Much like the characters in Polly Rosenwaike’s debut, I feel wholly inadequate and ill prepared for the task at hand. They are entrusted with the nobler task, that of motherhood, and I, a male with no child rearing experience, am attempting to review their explorations. When I get sentimental about fatherhood aspirations, it is always the highlight reel of playing catch in the backyard and teaching the finer points of auto mechanics—a concept I hardly have any grasp on. The scenes in Rosenwaike’s book are far from the highlight reel of any parenthood.
The Memory Police by Yoko Ogawa, trans. by Stephen Snyder (Pantheon 2019)
Reviewed by Rebecca Valley
“’Long ago, before you were born, there were many more things here,’ my mother used to tell me when I was still a child. ‘Transparent things, fragrant things… fluttery ones, bright ones…” (3)
In her essay “Fairy
Tale is Form, Form is Fairy Tale,” author Kate Bernheimer defines
the fairy tale for a contemporary audience – what fairy tales are
made of, what doors they can open.
“With their flatness, abstraction, intuitive logic, and normalized magic, fairy tales hold a key to the door fiercely locked between so-called realism and nonrealism, convention and experimental-ism, psychology and abstraction. A key for those who see these as binaries, that is.”