Grace Schulman casts her steady eye on mortality in her new collection of poems, “The Marble Bed.” Or, more accurately, she casts her eye on the things around her and they describe mortality back to her.
Grace Schulman casts her steady eye on mortality in her new collection of poems, “The Marble Bed.” Or, more accurately, she casts her eye on the things around her and they describe mortality back to her.
Donald Trump is by far the most egregious liar ever to reside in the White House, but he is hardly the first, writes Eric Alterman in “Lying in State: Why Presidents Lie — and Why Trump Is Worse,” a kind of American history textbook for our unsettled times.
On the new books front: Suzanne McNear’s “Swimming Lessons and Other Stories” and Janet Lee Berg’s “Restitution,” a follow-up to “Rembrandt's Shadow,” historical fiction about one family’s art looted by the Nazis.
Roger Rosenblatt’s “Cold Moon” is like an extended prose poem, with runs of free associations and streams of consciousness tackling major themes of life, death, and grief.
The character-driven second book by the singer-songwriter turned novelist Suzzy Roche is set in a Catholic enclave in Pennsylvania in 1961. It is a social satire with sympathy, realism with softened edges.
The M.F.A. program in creative writing and literature at Stony Brook Southampton will welcome the poet Major Jackson for an online reading and talk on Oct. 28 at 7 p.m.
Alastair Gordon talks up the Barnes Coy architecture firm and interviews a principal, and Grace Schulman headlines a celebration of Turtle Point Press via Canio’s Books.
Bill Henderson’s “The Family Bible” is a collection of plainspoken, candid poems centering on his struggle with the fundamentalist, literalist religion of his childhood and youth, with its contradictions of a loving and angry God and stories of kindness and violence.
Chris Whipple’s “The Spymasters” fleshes out the triumphs, tragedies, and turf wars of national intelligence with a trove of new details and insights from an astounding cast of characters.
In “For Now,” a book-length essay in Yale’s “Why I Write” series, Eileen Myles enacts the very strategies identified as essential to the author’s poetics. The essay chronicles its own construction, so that we learn not only why Myles writes, but also how this particular piece of writing came to be.
Betsy Carter’s new novel is an intergenerational tale of family pleasures and tensions in a small town. Sweet and warm, it’s nice to be in her world the way it’s nice to look through a bakery’s glass case.
“Paris Never Leaves You,” an extraordinary new novel by Ellen Feldman of East Hampton, cuts between Paris in 1944 during the late stages of the Nazi occupation and the New York City publishing world of 1954.
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