Kalfus is at his best when he isn't trying too hard to be innovative, when he embraces the oddities that give his stories their spark without forgetting the need for character development and a sense of closure.
Castellanos Moya demonstrates his facility with the stream of consciousness narrative, masterfully depicting the psyche of an exiled journalist trapped in a Kafkaesque nightmare of anxiety and paranoia.
"Aureate Gloom" shows that of Montreal's wellspring of stylistic creativity is drying up.
If there is any weakness in “The Country of Ice Cream Star,” it is that it tries too hard to do too many things. Newman seems driven by a compulsion to ensure no dystopian trope is neglected.
It is difficult for a single review to capture everything that is David Mitchell's “The Bone Clocks.” The novel is by turns family drama, political commentary, cultural history, fantasy epic, and post-apocalyptic vision.
"Bark" is unable to accomplish its goals without descending into its own form of absurdity—an expanse of self-conscious irony, uninspired metaphors, and general narrative aimlessness.
While “Ripper” is an enjoyable read and a generally successful novel, it is also an experiment with mystery writing—one that suggests Allende's prodigious talents are most effectively used in the genres with which she is most familiar.
By now everyone's heard the news: Harvard hands out good grades like candy. Dining halls are alive with the sounds of students wondering who is getting all of these apparently ever-so-abundant As.
The lively, passionate sound that kick-started the career of Los Campesinos! career is still there, tempered by a sense of despair. The imagery is rich, but in typical indie-angst fashion, it's hard to tell if Paisley is meditating on the transience of life or merely upset over his latest heartbreak.
The news that J. K. Rowling's "Fantastic Beasts and Where to Find Them" is going to be adapted into a movie series inspired a multitude of different emotions. Here are the craziest.
For Atwood’s established readers, “MaddAddam” provides the excitement of returning to the world she so vividly created in “Oryx and Crake” and “The Year of the Flood,” as well as a sense of closure previously absent. But the new novel pales in comparison to its predecessors.
Because Twitter is probably a Warner Bros. casting director’s first stop.
So you’re not too old to play an imaginary creature in an imaginary world?
Crikey! Would you look at the size of that acromantula? What a beaut!