“How to Be Safe is as startling as the crack of a bullet. The story’s volatile tone tears through the despair of our era’s devotion to guns … Unemployed, depressed and allergic to sentimentality, Anna offers a vicious critique of her own experience in a poisonous male culture … acid wit makes How to Be Safe particularly unnerving. Anna delivers the most caustic lines with a straight face sharp enough to cut your throat … Like nothing else I’ve read, How to Be Safe contains within its slim length the rubbed-raw anxieties, the slips of madness, the gallows humor and the inconsolable sorrow of this national pathology that we have nursed to monstrous dimensions.”

-Ron Charles on Tom McAllister’s How to Be Safe (The Washington Post)

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“…his monumental novel The Overstory accomplishes what few living writers from either camp, art or science, could attempt. Using the tools of story, he pulls readers heart-first into a perspective so much longer-lived and more subtly developed than the human purview that we gain glimpses of a vast, primordial sensibility, while watching our own kind get whittled down to size…. The descriptions of this deeply animate place, including a thunderstorm as experienced from 300 feet up, stand with any prose I’ve ever read. I hesitate to tell more, and spoil the immense effort Powers invests in getting us into that primal forest to bear witness … The science in this novel ranges from fun fact to mind-blowing, brought to us by characters — some scientists, mostly not — who are sweet or funny or maddening in all the relatable ways. The major players number more than a dozen, all invested with touching humanity, and they arrive with such convincing, fully formed résumés, it’s hard to resist Googling a couple of them to see if they’re real people.”

-Barbara Kingsolver on Richard Powers’ The Overstory (The New York Times Book Review)

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“As with her previous novel, the great skill here is the way Miller gives voice to a previously muted perspective in the classics, forging a great romance from the scraps left to us by the ancients. If The Song of Achilles recovered a half-buried homosexual love story from the Iliad, Circe gives us a feminist slant on the Odyssey … Miller has made a collage out of a variety of source materials–from Ovid to Homer to another lost epic, the Telegony–but the guiding instinct here is to re-present the classics from the perspective of the women involved in them, and to do so in a way that makes these age-old texts thrum with contemporary relevance. If you read this book expecting a masterpiece to rival the originals, you’ll be disappointed; Circe is, instead, a romp, an airy delight, a novel to be gobbled greedily in a single sitting.”

-Alex Preston on Madeline Miller’s Circe (The Observer)

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“Michelle Dean has essentially gathered ten 20th century literary lodestars for an all-female intellectual history party thrown between the covers of a single book. The price of admission to this critical gala: ‘the ability to write unforgettably,’ and being labeled ‘sharp.’ Dean’s literary bash is as stimulating and insightful as its roster of guests. She not only encapsulates their biographies and achievements with remarkable concision, but also connects the dots between them … Like Elif Batuman’s The Possessed, Sharp makes literary criticism accessible and lively. The book’s topicality, combined with Dean’s astute analyses of her subjects’ lives and vinegar-sharp wit, should appeal to more than literary wonks … Sharp is a wonderful celebration of some truly gutsy, brilliant women.”

-Heller McAlpin on Michelle Dean’s Sharp (NPR)

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“Her narrative of the unending Syrian war from 2011 through 2016 and into 2017 offers page after page of extraordinary reporting and many flashes of exquisitely descriptive prose. But it is the characters around whom the story is built who make the book unforgettable, as Abouzeid threads together their stories of hope and loss in a country where ‘the dead are not merely nameless, reduced to figures. They are not even numbers’ … Today there is, as Abouzeid’s title tells us, no turning back, and one reads the book’s final pages with no hope of a happy ending. But one also reads them with the conviction that Abouzeid’s remarkable journalistic and literary work has given us, at last, a book worthy of the enormous tragedy that is Syria.”

-Christopher Dickey on Rania Abouzeid’s No Turning Back (The New York Times Book Review)

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