Aug 19, 2014 — The protagonist of Julie Schumacher's new Dear Committee Members is frustrated with the future of American arts and letters — and the feckless students who pester him for recommendation letters.
Aug 19, 2014 — Critic Heller McAlpin says readers picking up Paulo Coelho's new Adultery in search of deep philosophical insight on marital infidelity and a lack of cliches might be better off with Madame Bovary.
Aug 19, 2014 — Filmmakers Alex and Andrew Smith knew American Indian writer James Welch — he was a family friend. But as non-Native Americans, they had concerns about adapting his iconic novel, Winter in the Blood.
Aug 18, 2014 — Colorless Tsukuru Tazaki, about a young man looking for closure, offers Haruki Murakami's trademark blend of fantasy and reality. Some moments fall flat, but many others are intoxicating.
Aug 18, 2014 — The novel is about a flavor chemist who tests a sweetener on lab rats and monkeys and finds side effects the company covers up. Author Stephan Eirik Clark says he was inspired by Fast Food Nation.
Aug 17, 2014 — Richard Flanagan's new novel follows a Tasmanian-born doctor, captured by the Japanese during WWII, who ends up caring for prisoners of war working on the notorious "Death Railway."
Aug 17, 2014 — At Dominican Convent High School in Zimbabwe, then-16-year old writer Irene Sabatini and her classmates swooned over the opulence, sex and strength portrayed by the women in Shirley Conran's Lace.
Aug 16, 2014 — Lowry's father didn't have Alzheimer's but as he began to forget his past, the author says, she began to imagine a book about eliminating painful memories. The Giver has just been adapted into a film.
Aug 16, 2014 — Thrity Umrigar's new novel is about two women with "a mystical connection." Lakshmi is stuck in a loveless marriage. Dr. Maggie Bose decides Lakshmi doesn't need a shrink — she needs an escape.
Aug 15, 2014 — Jess Row's provocative Your Face in Mine uses the rhetoric of transgender experience to imagine a world where race can be changed; reviewer Amal El-Mohtar calls it a grating meditation on white guilt.