Charles R. Larson

Charles R. Larson is Emeritus Professor of Literature at American University, in Washington, D.C. Email = Twitter @LarsonChuck.

Review: Marc Petitjean’s “The Heart: Frida Kahlo in Paris”

Fire Everyone in the Government, Mr. Trump

Review: William Feaver’s “The Lives of Lucian Freud, the Restless Years 1922-1968”

Review: Vasily Grossman’s “Stalingrad”

Review: Elif Shafak’s “10 Minutes 38 Seconds in This Strange World”

Review: Ahmet Altan’s “I Will Never See the World Again”

Review: Lucy Ellmann’s “Ducks, Newburyport”

Review: Bruno Latour’s Down to Earth: Politics in the New Climatic Regime

Review: Jake Wolff’s “The History of Living Forever”

Review: Chris Arnade’s “Dignity: Seeking Respect in Back Row America”

Review: Ziya Tong’s “The Reality Bubble”

Review: Uwe Johnson: “Anniversaries, Vol II”

Review: Uwe Johnson’s “Anniversaries, Vol. I”

Review: Khaled Khalifa’s Death Is Hard Work

Last Days of the Gulag

Lynching Journalists

Trump’s Fetus, aka, Forbidden Words

Trump’s Blueprint for State Capture

Endpaper: The Decline of Reading for Pleasure

Review: Emily Witt’s “Nollywood: The Making of a Film Empire”

Review: Ta-Nehisi Coates’ “We Were Eight Years in Power”

Review: Mike McCormack’s Solar Bones

Review: Peter Manseau’s “The Apparitionists: A Tale of Phantoms, Fraud, Photography, and the Man Who Captured Lincoln’s Ghost”

Review: Khary Lazarre-White’s “Passage”

Review: Candida R. Moss and Joel S. Baden’s “Bible Nation: the United States of Hobby Lobby”

Review: Hernan Diaz’s “In the Distance”

Review: Daniel Galera’s “The Shape of Bones”

Review: Sasha Abramsky’s “Jumping at Shadows: The Triumph of Fear and the End of the American Dream”

Review: Paul Yoon’s “The Mountain”

Review: Nicole Krauss’s “Forest Dark”

Review: Abdulrazak Gurnah’s “Gravel Heart”

Review: Gijs Van Hensbergen’s “The Sagrada Família”

Review: Orhan Pamuk’s “The Red-Haired Woman”

Review: Lawrence P. Jackson’s “Chester B. Himes”

Review: Curtis Dawkins’ “The Graybar Hotel”

Review: Omar Robert Hamilton’s “The City Always Wins”

Review: Norman Lock’s “A Fugitive in Walden Woods”

Review: James Q. Whitman’s “Hitler’s American Model”

Review: Max Décharné’s “Vulgar Tongues: An Alternative History of English Slang”

Review: Igiaba Scego’s “Adua”

The Crybaby in the White House

Review: Alain Mabanckou’s “Black Moses”

Review: Malin Persson Giolito’s “Quicksand”

Review: Arundhati Roy’s “The Ministry of Utmost Happiness”

Review: Édouard Louis’s “The End of Eddy”

Review: Michel Stone’s “Border Child”

Review: Mary V. Dearborn’s “Ernest Hemingway”

Review: Allan Lichtman’s “The Case for Impeachment”

Review: Ivanka Trump’s “Women Who Work”

Review: Domenico Starnone’s “Ties”