By Alice Lowe
I have no frame of reference for Ernaux’s memories of the restrictions and reconstruction of postwar Europe, of the domination of the Catholic Church and attending all-girl convent schools. I’m not yet a part of her collective “we.” But then she describes a photo of herself in 1955, wearing a short-sleeved sweater, polka-dot skirt, and ballerina flats, and I see myself. Continue reading
by Martha Anne Toll
“This feels like it is happening at the right time for me and my writing, and that I have truly landed in the right place.” Continue reading
By Alice Lowe
I have no frame of reference for Ernaux’s memories of the restrictions and reconstruction of postwar Europe, of the domination of the Catholic Church and attending all-girl convent schools. I’m not yet a part of her collective “we.” But then she describes a photo of herself in 1955, wearing a short-sleeved sweater, polka-dot skirt, and ballerina flats, and I see myself. Continue reading
By Susan Sechrist
“The fiction is self-contained and self-referential; it can stand alone as a finished version of reality, albeit in a consensually-agreed upon, useful disguise.” Continue reading
By Susan Sechrist
“Writing this book often felt like one long exercise in the butterfly effect. It was maddening, fascinating, absorbing work, very much like putting together a puzzle. But imagine a puzzle where the pieces constantly change shape.” Continue reading
by Susan Sechrist
“I was interested in exploring how one’s relationship with Judaism can change over time; what’s viewed as a burden can become an asset or even a longing.” Continue reading
by Amy Day Wilkinson
In Academy Street, plenty happens. . . . Still, one doesn’t get the feeling that plot drove the writing . . . Rather, the events spring naturally from the life of the central character, Tess Lohan. Continue reading
Bloom 