Vasyakina powerfully encompasses the absurd and expansive universe of what Gogol described as the “unbridled incomprehensible Rus,” her homeland land with its terrors, its poetry and loftiness and its magic, to the skin and bones of the tender and violent people who inhabit it.
THE LONG FORM reimagines both this relationship of mother-and-child and the histories and capacities of the novel. In the process, it disrupts these well-worn structures to create something delightfully new.
Bloom’s translations of these plays remind us that Camus was not a philosopher who used theater to illustrate arguments like Sartre, but a tragic thinker for whom drama was a fundamental and necessary means of literalizing political and ethical metaphors.
Within Bianca, the speaker must choose the life she has over and over again, as a way forward—not as a stoic rendition of the eternal return of the same, but as desire.
Memoir is less common territory for Darrieussecq, but with insomnia, she has found a real-world subject appropriate for her ongoing concerns about making sense of the absurd.
All three poets contemplate the female body and the voice both literally and metaphorically, appealing to outside powers as they ponder how much a person can bear.
“You were a cop and then a robber and a cop again,” recalls Officer Munson. And on this fateful night, he wants Carney to play again, this time with deadly stakes.