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https://www.nytimes.com/section/books/review
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1 hour 27 min ago
Who cares if there’s tomato sauce on the ceiling? Middle schoolers are making dinner.
Alexis Coe’s “You Never Forget Your First” updates the male-dominated narrative of the founding father.
Kierkegaard, called the father of existentialism, pondered what it means to be human in the world. Clare Carlisle’s biography, “Philosopher of the Heart,” arrives amid a fad for his work.
“The Inseparables,” a novel Beauvoir abandoned in 1954, tells the story of a doomed friendship based on one from her own childhood.
In “Ways to Make Sunshine,” Renée Watson gives us a new spin on Beverly Cleary’s beloved heroine and a timely primer on how kids can navigate a world of change that’s coming at them fast.
An excerpt from “The Celestial Hunter,” by Roberto Calasso
An excerpt from “Little Family,” by Ishmael Beah
In Ishmael Beah’s new novel, a makeshift home of adolescents is forced to confront the ugliest side of adulthood.
“The Celestial Hunter,” the eighth volume in Roberto Calasso’s ongoing literary project, is an exploration of hunting via literature and mythology.
Robert Perisic’s novel “No-Signal Area” is set in an unnamed Balkan country struggling to recover after war.
A journalist introduces readers to a new mother struggling mightily, against all odds, to find a permanent place to live.
In “Our Riches,” the Algerian novelist Kaouther Adimi revisits Edmond Charlot and his legendary bookshop, as well as her country’s turbulent past.
A selection of recent books of interest; plus, a peek at what our colleagues around the newsroom are reading.
Alexander Rose’s “Empires of the Sky” recounts the race to dominate the air.
In “The Inevitability of Tragedy,” Barry Gewen traces the roots of political realism to the generation of Jewish intellectuals who fled Nazi Germany.
In “Camino Winds,” a bookstore owner and two other characters team up to solve a murder and the mystery behind it.
Lawrence Wright’s “The End of October” is about the scientific challenge, political turmoil and social horror of a pandemic.
The protagonist of Rebecca Stead’s “The List of Things That Will Not Change” ends in a different place than she began, but her essential self remains.
“Papa was right,” Mary Lambert tells herself and the world in Ann Clare LeZotte’s “Show Me a Sign.” “We are fine as we were made.”
Until recently, gay literary characters had to hide their identities. But even now the closet — and the lies and concealment it implies — remains a surprisingly potent metaphor.
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