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Fergus McIntosh writes about how Alexander Chee’s personal history played into his latest book, “How to Write an Autobiographical Novel.”
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Jia Tolentino writes about “The Pisces,” the novel by Melissa Broder, which, like “The Shape of Water” and “Made for Love,” tells the story of a romance between a human and a fish.
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Anwen Crawford writes on the short stories of Robert Aickman, in a new release by NYRB Classics, “Compulsory Games.”
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Katy Waldman on the writers Sloane Crosley and Curtis Sittenfeld’s use of awkwardness in their fiction and essays.
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Stephen Greenblatt writes about how William Shakespeare confronted the politics of Elizabethan England from an oblique angle in his work, prioritizing thematic displacement—but for one potentially disastrous exception.
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Justin McGuirk writes on the urbanist Richard Sennett’s new book, “Building and Dwelling: Ethics for the City,” which holds that “encounters with resistance” are crucial to learning any craft, even the craft of dwelling.
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Katy Waldman on Lorrie Moore’s new collection of essays, “See What Can Be Done.”
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Ronan Farrow on the rampant discord and disarray of Rex Tillerson’s State Department in the months leading up to the Secretary of State’s sudden dismissal.
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Hannah Aizenman writes about J. D. McClatchy, the American poet, critic, editor, teacher, translator, and opera librettist who contributed to The New Yorker for more than thirty-five years.
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Nick Frisch writes about the political resonance of the novels of the Chinese writer Louis Cha, author of “Legends of the Condor Heroes,” also known by the pen name Jin Yong.
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