Criticism & Features

It starts with a woman who has been killed—along with her children—by her husband. There is the inability of some of her surviving family to speak of it; the need,

“To praise this, blame that, / Leads one subtly away from the beginning, where / We must stay, in motion.” This quote from John Ashbery’s “Houseboat Days” anchors Teare’s latest

A number of novels have come out in recent years with a promise of having something to say about the American interior, whether through stories of opioid addiction, combat veterans,

Sonia Purnell’s A Woman of No Importance: The Untold Story of the American Spy Who Helped Win World War II elevates the jacket copy phrase “gripping narrative” to a whole

Peter Schjeldahl is not just a critic: he is a sensitive receptor and reporter, an art appreciator and viewer, an educator, and an artist himself who possesses the linguistic skills,

In 2002, Jessica Chiccehitto Hindman landed a job with a successful composer who needed a violinist for his touring ensemble. It seemed like a dream gig: simple melodies, simple tempos,

Davis’s exciting debut collection of nonfiction, ranging from craft lectures to essays about writers and artists to notes on the translation process, is a great gift to readers, particularly those

Back when Chanel Miller was known to the world only as Emily Doe, she wrote a stunning victim statement for the sentencing hearing of her rapist. “You don’t know me,”

Patrick Radden Keefe’s Say Nothing: A True Story of Murder and Memory in Northern Ireland is a murder mystery political history. Keefe opens with a scene of two Northern Irish