In her novel "War, so much War," the late Catalan writer Mercè Rodoreda successfully weaves an intricate allegorical examination of evil, both beautiful and disturbing, without the simplistic moralizing of many fairy tales.
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.
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.
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.
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.
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.