Stefan Kanfer’s new biography of Marlon Brando focuses not on the actor’s personal difficulties, but on his work and the often tortuous route those projects took on their way to the screen.
Toni Morrison’s remarkable new novella, “A Mercy,” is, at once, a kind of prelude to “Beloved” and a variation on that earlier book’s exploration of the personal costs of slavery.
In her ridiculous new novel, Diane Johnson attempts to use the war on terror as a backdrop for a social comedy about a clueless young American woman named Lulu.
John le Carré’s latest novel is set in Hamburg, Germany, the city where Mohamed Atta and other members of Al Qaeda prepared for their assault on the United States.
Philip Roth’s latest book — in which a dead man tells of his too short life — reads like an elaborate, blackly comic joke. And it’s a joke, in the end, that doesn’t amount to a full-fledged novel.
Marilynne Robinson’s new novel, “Home,” a kind of bookend to her Pulitzer Prize-winning “Gilead,” is an inward-looking story about a dying man and two of his children computing the losses in their lives and their distance from God.
Farnaz Fassihi’s powerful new book, “Waiting for an Ordinary Day,” gives a sense of the fallout that the American invasion and occupation of Iraq have had on civilians’ daily lives.
Doris Lessing once declared that “fiction makes a better job of the truth” than straightforward reminiscence. This observation does not apply to her latest book.
“The Sister” is powered by the same sort of confidently rendered literary suspense that propelled Donna Tartt’s “The Secret History” onto best-seller lists.