Charles R. Larson
Fire Everyone in the Government, Mr. Trump
April 10, 2020Review: Vasily Grossman’s “Stalingrad”
October 25, 2019Review: Elif Shafak’s “10 Minutes 38 Seconds in This Strange World”
October 18, 2019Review: Ahmet Altan’s “I Will Never See the World Again”
September 20, 2019Review: Lucy Ellmann’s “Ducks, Newburyport”
September 6, 2019Review: Jake Wolff’s “The History of Living Forever”
July 26, 2019Review: Ziya Tong’s “The Reality Bubble”
May 17, 2019Review: Uwe Johnson: “Anniversaries, Vol II”
April 12, 2019Review: Uwe Johnson’s “Anniversaries, Vol. I”
April 5, 2019Review: Khaled Khalifa’s Death Is Hard Work
March 1, 2019Last Days of the Gulag
January 25, 2019Lynching Journalists
October 12, 2018Trump’s Fetus, aka, Forbidden Words
December 22, 2017Trump’s Blueprint for State Capture
December 15, 2017Endpaper: The Decline of Reading for Pleasure
December 8, 2017Review: Emily Witt’s “Nollywood: The Making of a Film Empire”
December 1, 2017Review: Ta-Nehisi Coates’ “We Were Eight Years in Power”
November 24, 2017Review: Mike McCormack’s Solar Bones
November 17, 2017Review: Peter Manseau’s “The Apparitionists: A Tale of Phantoms, Fraud, Photography, and the Man Who Captured Lincoln’s Ghost”
November 3, 2017Review: Khary Lazarre-White’s “Passage”
October 27, 2017Review: Candida R. Moss and Joel S. Baden’s “Bible Nation: the United States of Hobby Lobby”
October 20, 2017Review: Hernan Diaz’s “In the Distance”
October 13, 2017Review: Daniel Galera’s “The Shape of Bones”
October 6, 2017Review: Sasha Abramsky’s “Jumping at Shadows: The Triumph of Fear and the End of the American Dream”
September 29, 2017Review: Paul Yoon’s “The Mountain”
September 22, 2017Review: Nicole Krauss’s “Forest Dark”
September 15, 2017Review: Abdulrazak Gurnah’s “Gravel Heart”
September 8, 2017Review: Gijs Van Hensbergen’s “The Sagrada Família”
September 1, 2017Review: Orhan Pamuk’s “The Red-Haired Woman”
August 25, 2017Review: Lawrence P. Jackson’s “Chester B. Himes”
August 18, 2017Review: Curtis Dawkins’ “The Graybar Hotel”
August 11, 2017Review: Omar Robert Hamilton’s “The City Always Wins”
August 4, 2017Review: Norman Lock’s “A Fugitive in Walden Woods”
July 28, 2017Review: James Q. Whitman’s “Hitler’s American Model”
July 21, 2017Review: Igiaba Scego’s “Adua”
July 7, 2017The Crybaby in the White House
July 5, 2017Review: Alain Mabanckou’s “Black Moses”
June 30, 2017Review: Malin Persson Giolito’s “Quicksand”
June 23, 2017Review: Édouard Louis’s “The End of Eddy”
June 9, 2017Review: Michel Stone’s “Border Child”
June 2, 2017Review: Mary V. Dearborn’s “Ernest Hemingway”
May 26, 2017Review: Allan Lichtman’s “The Case for Impeachment”
May 19, 2017Review: Ivanka Trump’s “Women Who Work”
May 12, 2017Review: Domenico Starnone’s “Ties”
May 5, 2017