Ghalib Islam’s Fire in the Unnameable Country (2014)


Have Helen Oyeyemi's Boy, Snow, Bird and Ghalib Islam's debut novel met? Were they caught up together in an air-raid shelter, sharing the same transistor radio while the sirens howled? "Maybe it just wasn’t the right time for him to tell the story. Or maybe it doesn’t matter what century

Ghalib Islam’s Fire in the Unnameable Country (2014)2014-03-14T13:41:56-05:00

Helen Oyeyemi’s Boy, Snow, Bird (2014)


Girl Cave Rose. Prince Dark Mirror. Crow Cellar Ring. One has the sense that Helen Oyeyemi thinks in threes. Also that she views the world through a slightly skewed lens. Hamish Hamilton - Penguin, 2014 But Boy, Snow, Bird is not simply a random collection of resonant images

Helen Oyeyemi’s Boy, Snow, Bird (2014)2020-05-20T13:54:35-05:00

Ania Szado’s Studio Saint-Ex (2013)


"There’s no backstitching in stories. Nothing can be locked in place." So says a character in Studio Saint-Ex, but readers of Ania Szado's second novel might disagree; she seems to have no trouble locking a good story in place. She began where all good stories begin, with a fascination. In

Ania Szado’s Studio Saint-Ex (2013)2014-05-13T15:43:32-05:00

Joseph Boyden’s The Orenda (2013)


Twenty-two years ago, I clipped an article from a Toronto newspaper about the restoration of Sainte-Marie among the Hurons near Midland, Ontario. I had studied the history of the mission and the slaughter of the Jesuit priests when I was in elementary school, culminating in a vague understanding of it

Joseph Boyden’s The Orenda (2013)2014-05-13T14:06:07-05:00

Mary-Rose MacColl’s In Falling Snow (2012)


It begins with a short but vividly drawn scene: two lovers alone in a room in Paris in 1917. Sensorily rich and broadly sketched: the reader is immediately engaged. Not only by the substance, but by a couple of unexpected phrases therein: questions arise. Those questions are soon set aside

Mary-Rose MacColl’s In Falling Snow (2012)2014-05-13T14:14:36-05:00
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