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THE BIRDS AND US, written by Tim Birkhead and released August 2022 from Princeton Review Press, is atheist perfect mix of history, narrative, and science with a dash of cool illustrations. Throughout the book, readers will learn about everything from bird cave paintings, to birdwatching, and everything in between.
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An illustrated review of Sumana Roy’s new essay collection, HOW I BECAME A TREE!
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An illustrated review of Melissa Febos’s new essay collection, GIRLHOOD!
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A review of THE PERISHING: “[H]ope keeps you in the ring, pushing off the ropes. Hope keeps you in the fight.”
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This book is disarmingly—in fact, unnervingly—amoral.
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I’ll never see Kitamura’s exhibition in real life, but I’m still grateful to have been invited to the opening.
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The experience, rather than linear, is borealian.
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Lim has written before about experimental fiction and the need to slough off such conventions of narrative as plot.
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Metaphor can make life more bearable, meaningful, or simply comprehensible.
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The narrator then returns to normal life, only to discover that life may never be normal again.
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Combine multiple ingredients in a single stanza-bowl.
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Remember us, the characters seem to beg of the reader, imagined mirrors of the real lives lost and mourned.
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Composition here becomes a process of discernment rather than pure creation.
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It opens a field of inquiry that stretches to the far corners of culture.
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To be imbricated in hundreds of years of colonial violence is to be entangled in colorist logics and stories of loss and belonging that are rarely linear or singular.
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The Weak Spot is more interested in the invisible forces that guide our ways of being in the world.
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Hannaham reserves his most vivifying language for planes and crashes.
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Morbid humor exists for a reason: to poke fun at our inevitable ends and lighten its emotional load.
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You want to, but do you? Do you dare hope?
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Pleasures and possibilities, though, come hard-won in this book.
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Active Reception writes into the place where language fails.
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Slipstream may as well be what we call our bewilderment.
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Poems echo, rebound, and speak to one another.
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Amid all this survival, Cho carries the reader through with the comfort of food.
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The best books I have read about motherhood have not reassured me that these feelings will resolve.
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The individual and the crowd might prove as false a binary as anything else, even that [perforated] line sketched between poetry and prose.
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To have lost, found, and then lost again seems especially wrenching, a kind of unmothering.
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These are the terms Lahiri was trying to, seeking to find in Italian: this is her creed as a fiction writer.
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All the while, the sound of the poetry behind the telling is sharp, rhythmic, and controlled.
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