Garth Risk Hallberg’s debut novel starts on New Year’s Eve 1976 and ends on the July 13, 1977 New York City blackout. But is it worth the 944-page trek to get from Point A to Point B?
Gego’s exhibit “Autobiography of a Line” reveals eerily beautiful sculptures reminiscent of the Holocaust and the artist’s past.
Brazilian writer Clarice Lispector has been dubbed the most important Jewish writer since Kafka. It’s said she wrote like Virginia Woolf — and looked like Marlene Dietrich.
Colombian artist Doris Salcedo, whose provocative work is on display at the Guggenheim, confronts ideas of violence, oppression and injustice through her art.
Psoy Korolenko — a mad professor type who resembles a jet-lagged Allen Ginsberg after a couple of espressos — is one of the most intriguing and idiosyncratic performers at Kulturfest. Yevgeniya Traps tries to keep pace with the high-energy artist.
Aleksandar Hemon’s new novel asks us how we avoid turning into either zombies or zombie hunters. Sex, violence, chaos and pointed social commentary ensue in this tale of Chicago.
Ever wondered what it meant to live in a post-Internet age? The latest installment of the New Museum’s triennial tackles this question.
‘All happy families are alike,’ Tolstoy famously said. Wrong, according to Yasmin Reza’s new novel ‘Happy Are the Happy’ — because no family is happy.
More and more Jewish writers from the former Soviet Union have become household names. Here’s what you have to know about them, from Gary Shteyngart to Anya Ulinich.
Martin Amis’s publishers in Europe cited ‘lack of literary merit’ for dumping his new Holocaust novel. But Yevgeniya Traps writes that’s not the real problem with ‘The Zone of Interest.’