New Books In Literature

101 years have passed since the murder of the Imperial Family of Russia at Yekaterinburg, but their appeal has not diminished.  Indeed, interest in the Romanovs is at a historic high as television and the Internet age enables ever more devotees to discover the sepia-tinged appeal of Tsar Nicholas II and his doomed family.Less attention is devoted to the members of Nicholas’s family of origin, including many who survived the slaughter of 1917, escaping Russia for lives of exile in Europe and North America. And of these, no one is more fascinating than Nicholas's own mother, Dowager Empress Maria Fyodorovna, the Danish princess who captured the hearts of Russia when she arrived to marry the heir to the throne, Grand Duke Alexander Alexandrovich in 1866.C.W. Gortner's latest novel, The Romanov Empress: A Novel of Tsarina Maria Feodorovna (Ballentine Books, 2018) goes a long way to addressing this disparity.  The novel is an exceptionally well-researched, masterfully crafted account of Maria Fyodorovna

The story of where we come from is such an important aspect of our personal sense of self, the forefront of many conversations about national identity, community, and belonging. In a country like the United States, where so many of us are or are descended from immigrants, the answer to this question of heritage can be a complicated one that takes us back generations. And, with proliferation of home genealogy tests like AncestryDNA and 23andMe, people are learning more about their family histories than was ever thought possible. But what happens when the questions we have about our identities and parentage can’t be answered by a simple test?For writer Sophia Shalmiyev, the question was never “who is my mother,” but rather, “where has she gone?” Mother Winter: A Memoir (Simon & Schuster, 2019) traces Shalmiyev’s journey from early childhood in Leningrad, Russia to parenthood in Portland, Oregon as she comes to terms with the ambiguous loss of the most important relationship in her life. Finding inspiration

For twenty years, 47-year-old Isabel Toledo has been ghostwriting the stories of Holocaust survivors. It's the mid 1990's, Isabel is divorced from the father of her three children and in precarious relationships with three different men. Now, for the first time since she began ghosting, she’s having trouble finishing a book. This Holocaust survivor’s story brings up the angst she feels about not knowing how her own mother survived the war. And how much of Isabel’s inability to love just one man comes from the trauma of being raised by broken parents, also divorced?Miryam Sivan is the author of Make it Concrete (Cuidono Press, 2019). She is a former New Yorker who has lived in Tel Aviv for over 20 years. Miryam teaches literature and writing at the University of Haifa and has published scholarly work on numerous Israeli authors and American writers Cynthia Ozick, James Baldwin, and Jane Bowles. Her short fiction has appeared in various journals in the US and UK, and two of her short stories were adopted for th

Zoya Andropova—soon to be known in her adopted country as Zoë Andropov—didn’t ask to be rescued from her Soviet orphanage, even after the arrest of her father, a strong supporter of the very regime that has now taken his life. But rescued she is, by well-meaning Americans, who soon dump her at a wealthy boarding school where she struggles to retain far more than her name. She takes refuge in literature, in particular by the émigré writer Lev (Leo) Orlov, whose science fiction transports her to more satisfying times and places.So perhaps it is no surprise that when Orlov shows up to teach at the school where Zoya, having nowhere else to go, has moved from student to worker, she tumbles into love with him, ignoring both his advances to the other girls and his very present and controlling wife. Zoya charts the evolution of this romantic triangle in her diary, which we read, interspersed with letters from Lev to his wife.As Adrienne Celt notes early on,Invitation to a Bonfire (Bloomsbury Publishing, 2019) is insp

Brianna, our narrator, is the daughter of a country inn-keeper. Her quick thinking and compassion during a job interview earn her a coveted position as lady’s maid for Lady Marguerite, the daughter of the governor of Orenza. Like many members of the nobility in this fantasy world, Marguerite has Echoes, people who look and act just like her, but rarely move of independent volition and don’t speak. (Echoes were originally created by the Goddess to protect nobles by foiling assassination attempts.) As a lady’s maid, Brianna must attend to dressing and coiffing all four of them, something she enjoys and shows a talent for.Down-to earth and conscientious, Brianna soon makes new friends. Her new employer, who is sweet and gentle, also turns out to be lonely and in need of a confidante. The eligible and single Lady Marguerite is a pawn in the kingdom’s politics. Her parents hope Prince Cormac will choose her as his bride, smoothing over a possible rebellion in the Western provinces. Though Prince Cormac is pleasant

The massive corporation at the center of Eliot Peper’s Analog trilogy, which he completed last month with the publication of Breach (47North, 2019) is radically different from most science fictional companies. It aspires to do good.The growth of Commonwealth into a benevolent behemoth is chronicled in the series’ first two novels, Bandwidth and Borderless (which Peper discussed on the New Books Network last fall.) By the end of Borderless, Commonwealth, which controls the near-future version of the internet, has become its own sovereign entity, one whose ownership of the “feed” has given it enough soft power to force nations—through a clause in its terms of service—to implement an international carbon tax.Breach opens 10 years later. By this point, Commonwealth has instituted open borders and replaced national currencies with “feed credits” (if that sounds implausible, see Facebook’s recently unveiled plans to create its own digital currency, Libra). Commonwealth is now considering implementing something that

Hoaxes! Jokes! Farces and fun! Cristopher Rea's China’s Chaplin (Cornell University Press, 2019) introduces the imagination of Xu Zhuodai (1880–1958), a comic dynamo who made Shanghai laugh through the tumultuous decades of the pre-Mao era. Xu was a popular and prolific literary humorist who styled himself variously as Master of the Broken Chamberpot Studio, Dr. Split-Crotch Pants, Dr. Hairy Li, and Old Man Soy Sauce. He was also an entrepreneur who founded gymnastics academies, theater troupes, film companies, magazines, and a home condiments business. While pursuing this varied career, Xu Zhuodai made a name for himself as a “Charlie Chaplin of the East.” He wrote and acted in stage comedies and slapstick films, compiled joke books, penned humorous advice columns, dabbled in parodic verse, and wrote innumerable works of comic fiction. China’s Chaplin contains a selection of Xu’s best stories and stage plays (plus a smattering of jokes) that will answer the questions that keep you up at night. What is a fat

Today, I’m talking with Nina Boutsikaris. Her new book is called I’m Trying to Tell You I’m Sorry: An Intimacy Triptych (Black Lawrence Press, 2019). And if you’ve ever said those words—I’m trying to tell you I’m sorry—you know they usually come at some crisis point in a conversation that’s already underway. A misunderstanding has happened or some confusion has started to mount, and so you try to reset and make things clear: “Hey look, I’m trying to apologize!” Boutsikaris makes this gesture throughout her book, yet the “you” to whom she’s speaking is not as simple as any one person. She speaks to friends and former lovers, artists and theorists, members of her own family, and, ultimately, to her younger self. Nor is she carrying on one conversation. She’s trying to describe what it means to be a self, a female self, one living through illness, loneliness, desire, and the aspiration to make art. And finally, her book is no simple apology. It’s more of a reckoning, an attempt to understand who we are in our br

Since its inception in 2017, the viral #MeToo movement has called more cultural attention to abusive behavior, creating a much-needed public space for women to speak up about the violence they have endured at the hands of abusers, and for women to speak more openly about their own ambitions, dreams, and desires. For the first time in history, there is a platform for women to speak, and—most importantly—to be heard. In 2019, we can add another voice to this ongoing conversation: Reema Zaman’s radical assertion that “[t]o speak is a revolution.”Reema Zaman’s bold debut book, I Am Yours: A Shared Memoir (Amberjack, 2019) details what happens when women are silenced by the patriarchy—and what it means to find the power inherent in one’s own voice. As a Bengali woman who immigrated to New York City to pursue her dream of becoming a stage actress, Zaman portrays herself as both driven and fearless, despite the many hardships she endures as a young woman in the city. From navigating toxic relationships with men in t

John Sibley Williams’ As One Fire Consumes Another (Orison Books, 2019) presents a familiar world full of burnings carried out on both the grand and intimate scale. The newspaper-like columns of prose poetry provide a social critique of the violent side of American culture centered within the boundaries of self and family. Although an apocalyptic tension permeates throughout, these poems envision the kind of fires that not only provide destruction but also illuminate a spark of hope.“Dust rises from the road & there istoo much curve to resolve the edgesof embankment & asphalt. Backfirekeeps the pastureland carefully lit.Static keeps us wanting for anotherkind of song.”— from “Story that Begins and Ends with Burning”John Sibley Williams is the author of As One Fire Consumes Another (which won the Orison Poetry Prize in 2019 and which we’ll be talking about today). He is also the author Skin Memory (which won the Backwaters Prize and is forthcoming from University of Nebraska Press also in 2019) as well

Too often keeping patients alive gets in the way of helping them as they approach death. Dr. Pauline Chen shares her experiences as a medical student and transplant surgeon and how they’ve shaped the way she practices medicine.Chen is the author of Final Exam: A Surgeon’s Reflections on Mortality (Vintage, 2008) and the New York Times column “Doctor and Patient.” Her essays have appeared in The Washington Post, The New York Times Magazine, and The New York Times Book Review. Her work has been nominated for a National Magazine Award.Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxford University Press, 2016). He's also the host of the podcast Time to Eat the Dogs, a weekly podcast about science, history, and exploration. Learn more about your ad choices. Visit

Kate Harris — writer, scientist, and extreme cyclist – talks about the trip she made with her friend Mel, tracing Marco Polo’s route across Central Asia and Tibet. The journey is the subject of Harris’s book, Lands of Lost Borders: a Journey on the Silk Road (Dey Street Books, 2019).Lands of Lost Borders, winner of the 2018 Banff Adventure Travel Award and a 2018 Nautilus Award, is the chronicle of Harris’s odyssey and an exploration of the importance of breaking the boundaries we set ourselves; an examination of the stories borders tell, and the restrictions they place on nature and humanity; and a meditation on the existential need to explore—the essential longing to discover what in the universe we are doing here.Michael F. Robinson is professor of history at Hillyer College, University of Hartford. He's the author of The Coldest Crucible: Arctic Exploration and American Culture (University of Chicago Press, 2006) and The Lost White Tribe: Scientists, Explorers, and the Theory that Changed a Continent (Oxf

Vandana Singh has made a career of studying both hard science and the far corners of creativity. It’s no surprise then that Ambiguity Machines and Other Stories (Small Beer Press, 2018), which was nominated for a Philip K. Dick Award, reflects a fluency in multiple languages—not just English and Hindi, but the idioms of both particle physics and fantastical narratives that reach far beyond what science can (as of yet, at least) describe. “One of the things that really bothers me about how we think about the world is that we split it up into all these different disciplines and fields that have impenetrable walls between them, and one of the reasons I love … writing science fiction is that it allows us to make those walls porous,” Singh says. A reader might think that an expert in both particle physics and climate science might hesitate to write stories that explore impossibilities like time travel or machines “that cannot exist because they violate the known laws of reality” (the subject of the collection’s ep

Sutra is the Sanskrit name for a short spiritual teaching, and it comes from the same root as the English word suture, or stitch. This story of motherhood as a path to awakening is, says yoga and meditation teacher Anne Cushman, “an homage to the long threads that run through all human lives, stitching up what’s shredded in our hearts.”In this interview, Anne Cushman, a longtime yoga and dharma teacher, talks about her new book The Mama Sutra: A Story of Love, Loss, and the Path of Motherhood(Shambala, 2019).  This thoughtful book spans an eighteen-year journey through motherhood as a spiritual practice, chronicling Cushman’s first pregnancy, her daughter's tragic stillbirth, the joyful birth of her son, the “home retreat” of early motherhood, the challenges of parenthood, the diagnosis and gifts of her son’s developmental differences, the meltdown of her nuclear family and its reconfiguration into a new and joyful form, and more. This is a powerful story of the rawness and beauty of life.Anne Cushman is

A series of stories ranging from two-page narrative excerpts to 90+ page novellas, The Handsome Monk and Other Stories (Columbia University Press, 2019), translated by Columbia PhD student Christopher Peacock, with a contribution from Lauran Hartley, masterfully introduces the work of contemporary Tibetan author Tsering Döndrup. One of the most popular and critically acclaimed figures of Modern Tibetan literature of the post-Mao period, Tsering Döndrup is known for his earthy humor and his unflinchingly satirical portrayals of Tibetan life. Resisting the urge to romanticize Tibetan life, Tsering Döndrup’s stories relentlessly satirize both those in power—including clerics and government officials—and those without. Stories describe emergent social problems like gambling and long-standing folk institutions of violent feuds alike. The narratives compiled in The Handsome Monk could only be written by someone intimately familiar with Tibetan life over the last fifty years, and by placing many of his stories toget

Naoko Nakamura is only seventeen when she falls madly in love with an American navy man. It’s 1957, and the US occupation of Japan has ended just a few years before, leaving bitter memories in the local population. Even though Naoko’s beloved Hajime wants to marry her, her family will have nothing to do with him—in part because they have another husband picked out for her, but also because marriage to an American will cast shame on the entire family. When it becomes clear that Naoko is pregnant, her mother gives her a choice: rid herself of the child or leave the family forever.More than fifty years later, as Tori Kovac’s father lies dying, she learns he once had, as he puts it, “another life before this one.” Her journey to discover the truth of that other life leads her halfway around the world as she struggles to separate truth from the stories—always dismissed as fiction—that her father told her as she was growing up.Ten thousand babies were born to Japanese women fathered by US servicemen; the vast major

Audrey Schulman’s Theory of Bastards (Europa Editions, 2018) uses a scientist’s relationship with bonobos—and her struggle to keep them alive following a civilization-shattering dust storm—to explore climate change, over-dependence on technology, and the challenge of a body that produces more pain than pleasure.The novel, which won this year’s Philip K. Dick Award and Neukom Institute Literary Arts Award from Dartmouth, was almost never written.. Despite the fact that her four previous books had been well received, Schulman found it a continual challenge to get published and was on the brink of abandoning writing altogether. But Kent Carroll, the editor at Europa Editions who oversaw the publication of her novel Three Weeks in December, reached out, saying he wanted to publish a new book by her.“I've always wanted to write—there's nothing more I've wanted—and so given the opportunity, I couldn't say no.”Schulman’s work returns again and again to a few themes. “I feel like every writer—if they're very lucky—fi

It’s the late 1990’s and Alice Stein is a grad student in New York City. Her father died the previous year, leaving her mother with 8-year-old twins to raise. Alice is in charge of looking in on her dying grandmother, and then is first, after the thieving caregiver, to sort through her grandmother’s apartment after her death. There, Alice discovers a purse with a hidden compartment. As she struggles to study, write, teach, take care of the little girl from downstairs, and figure out her grandmother’s secrets, Alice uncovers layers of secrets about herself, her family, and everyone around her.Ariela Freedman was born in Brooklyn and has lived in Jerusalem, New York, Calgary, London, and Montreal. Her reviews and poems have appeared in Vallum, carte blanche, The Cincinnati Review and other publications, and she was selected to participate in the Quebec Writers' Federation's 2014 Mentorship Program. She has a PhD from New York University and has published articles on Mary Borden, James Joyce, First World war lit

If you’ve ever flipped a large rock over to see what was underneath and encountered dark sludge, the movement of insects, and the stirring of your own fascination, then you know something about the project that Chelsea Biondolillo undertakes in her debut essay collection, The Skinned Bird (Kernpunkt Press, 2019). In it, Biondolillo peels away both her own, and her reader’s, tidy understandings of the self and the natural world, and reveals messy and difficult narratives, memories, and revelations. This is a book that makes connections between the writer’s personal and familial histories and biology, meteorology, anatomy, astronomy, and even pseudosciences like phrenology. In one essay, Biondolillo immerses her reader in a juxtaposition of the phases of birdsong acquisition with memories and questions about childhood and inherited heartbreak. In the title essay, Biondolillo details how to turn a dead bird into a scientific specimen. She instructs her reader, “When both wings are free from the body, gently peel

Rin, an orphan raised by a family that treats her badly, is no Harry Potter, despite the superficial similarities. No kindly wizards await her; there are no summons from a cute feathered familiar. She studies day and night to be able to attend the military academy at the city of Sinegard, the capital of Nikara. She wins a coveted place at the Academy through sheer endurance, but once she arrives, she realizes how far she still has to go. The rich and educated students are dismissive or downright cruel to Rin, because she comes from a farming district in the south of Nikara, and has darker skin.After several strenuous years at the Academy, another student’s taunts and bullying lead to a fight, during which Rin displays supernatural ability during combat. Until that moment, Rin displays no unusual traits other than exceptional endurance in the face of pain and disappointment. Only the eccentric Lore teacher, Jiang, understands that she has the ability to call down a god to inhabit her body, allowing her to figh