“And the crushing of these hopes and dreams is what Sabyn Javeri leverages with incredible skill.” Casey Harding reviews ‘Nobody Killed Her’, by Sabyn Javeri.
“The narrative is fragmented and nightmarish, existing in a state of almost-perpetual darkness, but perhaps necessarily so…”
Jacob Silkstone reviews ‘Z213: Exit’, the first volume in Dimitris Lyacos’ Poena Damni trilogy.
“Its fragmentation gives … the impression of a Japanese fan: a wealth of perspectives, intricate etchings in every panel…”
Pratyusha Prakash on Natalie Wee’s ‘Our Bodies & Other Fine Machines’.
“As with all good books, the questions it poses linger long after the final page…”
Jacob Silkstone reviews Mushtaq Bilal’s collection of interviews with Pakistan’s leading English-language fiction writers.
“These poems hold a devotional quality of their own…”
Leeya Mehta reviews ‘Final Cut’, Saleem Peeradina’s fifth collection of poems.
“Leaving traces of its own continual metamorphosis, the book is an echo chamber, a hall of mirrors.”
Katy Lewis Hood reviews ‘Unbearable Splendor’, by Sun Yung Shin.
“Perhaps it is only through the button eyes of a perceptive monster that he can express his love of complex humanity…” Constance A. Dunn reviews Neil Gaiman’s ‘The View from the Cheap Seats’.
“One of Humpadori’s organising principles might be the deceptive kookiness with which it expresses its existential concerns; its aesthetic gaudiness at first seems brash and colourful, but over time seems increasingly oppressive and threatening…” Dave Coates reviews Vidhu Aggarwal’s debut collection.
“From the start, the reader is embarks on a mind-altering journey which may just be the alcohol-induced dreams of a drunkard met in the introductory chapter.” Sébastien Doubinsky reviews Robert Pinget’s novel ‘Graal Flibuste’.
“Often regarded as one of the pioneers of women’s war writing in Bosnia-Herzegovina, Lazarevska represents an alternative to the heroic war discourse…” Maida Salkanović on Alma Lazarevska’s groundbreaking ‘Death in the Museum of Modern Art’.