Picking up yesterday's thread, the balance in Seçkin’s novel sways toward the personal, whereas the political scene in Alaa Al-Aswany’s The Republic of False Truths (2021) is more prominent, despite all the attention paid to characterization—a network that grows increasingly complex as readers turn the pages. (And there’s at
Like the sand dollar that Rhoda’s father slips into his pocket, this is a gritty story. Her sister Joanne repatriated their father, with an air passage to back the claim, and now he has come to live with Joanne. “Then waja come here for?” “Because Regan sent me on
Researching Dawn Dumont, to review her most recent collection, Glass Beads, this quote leapt out at me: "If you can laugh then you can survive until the solution arrives." (Room Magazine, interview with Theressa Slind) It's easy to dismiss funny books as light, insubstantial. To call them
Sarah Dunn's new novel, The Arrangement takes Owen and Lucy, who are imagining themselves unhappily married in the future, and encourages them to sleep around. The idea comes to the happily married couple via a conversation at a dinner party, which is also how Sarah Dunn came upon the idea
If you've glanced at the union regulations for Native writers, you'd have seen this one coming: Eden Robinson explains that it's a requirement. "It’s also a union regulation as a Native writer that you have to write a Trickster story at least once." (This is from an interview by
