Illustrating the change of seasons, Gal’s charcoal and digital collage images effervesce with cheery colors, moving from the radiant gold, yellows, and reds of autumn to the greens and blues of spring—with a stop in snowy winter for Chanukah, of course.
This little bit of bedtime foolery feels a little incomplete, but it should strike a chord—and it’s far wittier than the similarly themed Go the Fuck to Sleep.
The most successfully drawn people are Alec and Meg; Lamprell has perfect pitch when it comes to marital discord...But by the end, this guidebook reads like it has gone through a Cuisinart, leaving a choppy, chaotic mess. Arrivederci, Roma. The wise reader will stick with Fodor’s next time.
As in the previous volumes, construction vocabulary and geological terms are emphasized in the rhyming text...Bold, computer-generated illustrations are filled with trucks, machinery, dogs in motion...Big trucks, jovial dogs and snappy rhyming text serve again as the building blocks of another successful entry in this solidly built series.
Honeywell’s debut is ambitious and well written and provides endless possibilities for debate. It ends on a cliffhanger, suggesting the possibility of a sequel.
The artwork of pencil and charcoal, illuminated with pastels, shifts a little in tone and vision due to the several years Auladell spent drawing it, but this version remains thoroughly satisfying...
Such a setup might sound short on comic potential but Eberlen’s touch is, for the most part, wonderfully light and there are not a few occasions when the musicals-mad Hope nearly steals the show.
At the heart of the novel’s themes of family, love, loss, and identity – not to mention the power, destruction and redemption within the parent-child relationship – is a meditation on gender...
The jump — a few precious moments of dizzying freedom and possibility — is the core metaphor in a novel of remarkable power, precision and compassion.
The Schooldays of Jesus, philosophically dense as it is, is parched, relentlessly adult fare – rather like eating endless bread and bean paste.
“Shadowbahn” is a challenging work, charged with engaging ideas and driven by the unexpected. It’s precisely the sort of book that we’ve come to expect from Erickson, one of the most freewheeling and unfettered storytellers of the past 30 years. And while it might not answer all of the questions it poses, it’s the asking that really matters.
It all comes back to the genius of Saunders. He has created something here that feels utterly new while somehow keeping one foot in the techniques of the past. Call it postmodern, call it experimental … call it anything you like. Just know this - you have never read a book like this one. And if you do, you will be so very glad that you did.
Autumn is a beautiful, poignant symphony of memories, dreams and transient realities; the “endless sad fragility” of mortal lives.
This novel feels foreign and the writhing sentences suit this cynical, deeply disillusioned state-of-the-Belgian-nation rant. We may think we excel at national self-flagellation but Verhulst's sustained (and blackly funny) assault on the citizens of Brussels trumps all.
In “4321,” [Paul] Auster has created a symphony in four movements, one life that becomes four. It sprawls, yet manages to feel lean; despite its considerable length, it never once feels the least bit overwritten...Filled with beauty and ugliness, with love and fear, with humor and hubris and history, “4321” is unforgettable.
...Number 11 is undoubtedly a political novel. It is also an interrogation of the purposes and efficacy of humour in exposing society’s ills, and a spoof on horror B-movies...
The shifting chronology also makes it difficult for readers to get their sea legs. Important information is doled out in pieces, out of reading order, and this is for a plot that’s confusing enough on its own. It doesn’t help that every character suffers from what we might call Lost syndrome...
At a moment when we are preoccupied with migration, it offers a sympathetic perspective on the difficulties of adjusting to life in a new place over two generations.
“Homesick for Another World” is challenging, confrontational work. Each one of these stories shines with a cracked-mirror bleakness that slices the reader to the emotional quick. And all 14 of Moshfegh’s final lines leave us wrung-out and strained … and eager to tackle the next one.