There is nothing artificial about Kazuo Ishiguro’s Klara of ‘Klara and the Sun’. That’s the tragedy and the irony of being an Artificial Friend.
Easy to summarize but difficult to, um, flesh out, Chelsea G. Summers' A Certain Hunger is, without a doubt, the Great American Female Serial Killer Novel, The Great Gatsby of women cannibal foodie satirical black comic memoirs.
A character named Magda dies, and lives, in language only in Ottessa Moshfegh's Death in Her Hands. But then again, don't all literary characters?
Deborah Feldman's memoir, Unorthodox, is more than a depiction, or even indictment, of the Satmar. It's an indictment of any patriarchal social system that shrinks young women's dreams to the size of a kitchen, and then blames them for it.
Prolific literary critic Terry Eagleton tries to explain how but doesn't tell why, we shouldn't read about vacuum cleaners in How to Read Literature.
In her memoir My Time Among the Whites, Jennine Capó Crucet demonstrates that making your home among strangers is harder than it seems.
In both The Avengers: Endgame and Game of Thrones, the key conflicts are not between good and evil, as one might think, but between the beginnings and endings of their stories.
Marq De Villiers' readers will readily discern where -- aside from abysses -- Hell and Damnation: A Sinner's Guide to Eternal Torment is headed: someplace unexpectedly fun.