Thomas Huntington explores all that is ruinous and gritty in Ottessa Moshfegh's Lapvona.
Everywhere there are fires burning. Joshua Klarica discusses Araluen's potent poems and essays in their collection: Dropbear.
In 2019, over two years before the publication of her book Emotional Female, Yumiko Kadota wrote a blog post titled ‘The ugly side of becoming a surgeon’. It’s a piece that hurts the moment it begins, with Kadota lamenting that she must ‘surrender…[her] dream of becoming a surgeon.’
Anwen Crawford’s No Document is many things: a letter to a lost friend; a history of art and protest; a practice of redaction and remembering; a call to action; and a lament. No Document is a text made up of fragments.
I love languages, and as a person from Chinese diaspora I’m aware that there is something fascinating about my own language—how it can encapsulate so much more than English, but with fewer characters. So what about English-to-Chinese translations—especially in book titles, which convey the whole story at a glance?
In Theory of Colours, Bella Li’s third full-length poetry collection, a planet slides into entropy. Inspired by poet Johann Wolfgang von Goethe’s treatise of the same name, Li blurs distinctions between absence and presence to create a haunting meditation on the universe.
We Were Not Men tells the story of Jon and Eden Hardacre, twin brothers who are ejected from their childhood by the tragic death of their parents.
In Jessie Tu’s debut novel A Lonely Girl is a Dangerous Thing, we follow a twenty-something-year-old violin prodigy named Jena, whose pattern of floating from one male prospect to the next is interrupted when she lands a temporary spot with the prestigious New York Philharmonic.
Shelley Parker-Chan’s debut historical-fantasy novel, She Who Became the Sun, is a queer reimagining of the inception of the Ming Dynasty in China.
Hysteria, Katerina Bryant’s debut memoir, is an exceptional and intimate portrayal of mental illness.