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A New York Times Noteable Book Mesmerizing, exhilarating, and profoundly moving, Mr. Peanut is a police procedural of the soul, a poignant investigation of the relentlessly mysterious human heart. David Pepin has been in love with his wife, Alice, since the moment they met in a university seminar on Alfred Hitchcock. After thirteen years of marriage, he still can’t imagine a remotely happy life without her—yet he obsessively contemplates her demise. Soon she is dead, and David is both deeply distraught and the prime suspect. The detectives investigating Alice’s suspicious death have plenty of personal experience with conjugal enigmas: Ward Hastroll is happily married until his wife inexplicably becomes voluntarily and militantly bedridden; and Sam Sheppard is especially sensitive to the intricacies of marital guilt and innocence, having decades before been convicted and then exonerated of the brutal murder of his wife. Like the Escher drawings that inspire the computer games David designs for a living, these complex, interlocking dramas are structurally and emotionally intense, subtle, and intriguing; they brilliantly explore the warring impulses of affection and hatred, and pose a host of arresting questions. Is it possible to know anyone fully, completely? Are murder and marriage two sides of the same coin, each endlessly recycling into the other? And what, in the end, is the truth about love?
One of TIME's 100 Must-Read Books of 2021 One of BuzzFeed's Best Books of 2021 One of Vulture's Best Books of 2021 Named one of the Most Anticipated of Books of 2021 by the Los Angeles Times, Literary Hub, and The Millions A searing and brave memoir that offers a new understanding of suicide as a distinct mental illness. As the sun lowered in the sky one Friday afternoon in April 2006, acclaimed author Donald Antrim found himself on the roof of his Brooklyn apartment building, afraid for his life. In this moving memoir, Antrim vividly recounts what led him to the roof and what happened after he came back down: two hospitalizations, weeks of fruitless clinical trials, the terror of submitting to ECT—and the saving call from David Foster Wallace that convinced him to try it—as well as years of fitful recovery and setback. Through a clear and haunting reckoning with the author’s own story, One Friday in April confronts the limits of our understanding of suicide. Donald Antrim’s personal insights reframe suicide—whether in thought or in action—as an illness in its own right, a unique consequence of trauma and personal isolation, rather than the choice of a depressed person. A necessary companion to William Styron’s classic? Darkness Visible, this profound, insightful work sheds light on the tragedy and mystery of suicide, offering solace that may save lives.
Longlisted for the National Book Award in Fiction • A Finalist for the PEN/Faulkner Award for Fiction • A Finalist for the Los Angeles Times Book Prize for Fiction • A Finalist for the James Taite Black Prize for Fiction • A Finalist the Center for Fiction First Novel Prize • A Finalist for the Green Carnation Prize • A New York Times Book Review Editors’ Choice • A Los Angeles Times Bestseller Named One of the Best Books of the Year by More Than Fifty Publications, Including: The New Yorker, The Paris Review, The New York Times (selected by Dwight Garner), GQ, The Washington Post, Esquire, NPR, Slate, Vulture, the San Francisco Chronicle, The Guardian (London), The Telegraph (London), The Evening Standard (London), The Philadelphia Inquirer, The Miami Herald, The Millions, BuzzFeed, The New Republic (Best Debuts of the Year), Kirkus Reviews, and Publishers Weekly (One of the Ten Best Books of the Year) "Garth Greenwell's What Belongs to You appeared in early 2016, and is a short first novel by a young writer; still, it was not easily surpassed by anything that appeared later in the year....It is not just first novelists who will be envious of Greenwell's achievement."—James Wood, The New Yorker On an unseasonably warm autumn day, an American teacher enters a public bathroom beneath Sofia’s National Palace of Culture. There he meets Mitko, a charismatic young hustler, and pays him for sex. He returns to Mitko again and again over the next few months, drawn by hunger and loneliness and risk, and finds himself ensnared in a relationship in which lust leads to mutual predation, and tenderness can transform into violence. As he struggles to reconcile his longing with the anguish it creates, he’s forced to grapple with his own fraught history, the world of his southern childhood where to be queer was to be a pariah. There are unnerving similarities between his past and the foreign country he finds himself in, a country whose geography and griefs he discovers as he learns more of Mitko’s own narrative, his private history of illness, exploitation, and want. What Belongs to You is a stunning debut novel of desire and its consequences. With lyric intensity and startling eroticism, Garth Greenwell has created an indelible story about the ways in which our pasts and cultures, our scars and shames can shape who we are and determine how we love. A conversation between Garth Greenwell and Hanya Yanagihara is included inside the e-book edition.
Longlisted for the Prix Sade 2021 Longlisted for the Joyce Carol Oates Prize Longlisted for the Gordon Burn Prize A New York Times Notable Book of 2020 A New York Times Critics Top Ten Book of the Year Named a Best Book of the Year by over 30 Publications, including The New Yorker, TIME, The Washington Post, Entertainment Weekly, NPR, and the BBC In the highly anticipated follow-up to his beloved debut, What Belongs to You, Garth Greenwell deepens his exploration of foreignness, obligation, and desire Sofia, Bulgaria, a landlocked city in southern Europe, stirs with hope and impending upheaval. Soviet buildings crumble, wind scatters sand from the far south, and political protesters flood the streets with song. In this atmosphere of disquiet, an American teacher navigates a life transformed by the discovery and loss of love. As he prepares to leave the place he’s come to call home, he grapples with the intimate encounters that have marked his years abroad, each bearing uncanny reminders of his past. A queer student’s confession recalls his own first love, a stranger’s seduction devolves into paternal sadism, and a romance with another foreigner opens, and heals, old wounds. Each echo reveals startling insights about what it means to seek connection: with those we love, with the places we inhabit, and with our own fugitive selves. Cleanness revisits and expands the world of Garth Greenwell’s beloved debut, What Belongs to You, declared “an instant classic” by The New York Times Book Review. In exacting, elegant prose, he transcribes the strange dialects of desire, cementing his stature as one of our most vital living writers.
The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.
An impassioned, thoughtful, and fearless essay on the effects of racism on the American identity by one of our country’s most humane literary voices. Acclaimed as “one of the most humane, honest, liberating works of our time” (The Village Voice), The Hidden Wound is a book-length essay about racism and the damage it has done to the identity of our country. Through Berry’s personal experience, he explains how remaining passive in the face of the struggle of racism further corrodes America’s great potential. In a quiet and observant manner, Berry opens up about how his attempt to discuss racism is rooted in the hope that someday the historical wound will begin to heal. Pulitzer prize-winning author Larry McMurtry calls this “a profound, passionate, crucial piece of writing . . . Few readers, and I think, no writers will be able to read it without a small pulse of triumph at the temples: the strange, almost communal sense of triumph one feels when someone has written truly well . . . The statement it makes is intricate and beautiful, sad but strong.” “Mr. Berry is a sophisticated, philosophical poet in the line descending from Emerson and Thoreau." ―The Baltimore Sun "[Berry’s poems] shine with the gentle wisdom of a craftsman who has thought deeply about the paradoxical strangeness and wonder of life." ―The Christian Science Monitor "Wendell Berry is one of those rare individuals who speaks to us always of responsibility, of the individual cultivation of an active and aware participation in the arts of life." ―The Bloomsbury Review “[Berry’s] poems, novels and essays . . . are probably the most sustained contemporary articulation of America’s agrarian, Jeffersonian ideal.” ―Publishers Weekly
""I am trying to make myself / a thrum of votive light," Michael Mlekoday writes in All Earthly Bodies. "I am trying to let the planet / rename me." Through a kind of lyric dreamwork, Mlekoday sounds the depths-of ancestry and identity, race and gender, earth and self-to track the unbecoming and re-membering of the body"--
The poems in Circles Where the Head Should Be are full of objects and oddities, bits of news, epic catalogues, and a cast of characters hoping to make sense of it all. Underneath the often whimsical surface, however, lies a search for those connections we long for but so often miss, and a wish for art to bridge the gaps.
WINNER of the Gotham Book Prize * Finalist for the Los Angeles Times Art Seidenbaum Award, and the Ernest J. Gaines Award for Literary Excellence * Longlisted for the Story Prize Named a BEST BOOK OF THE YEAR by NPR, Kirkus Reviews, Library Journal, Chicago Review of Books, LitHub, and Electric Lit “A standout achievement…American speech is an underused commodity in contemporary fiction and it’s a joy to find such a vital example of it here.” —The Wall Street Journal From a superb new literary talent, a rich, lyrical collection of stories about a tight-knit cast of characters grappling with their own personal challenges while the forces of gentrification threaten to upend life as they know it. At Banneker Terrace, everybody knows everybody, or at least knows of them. Longtime tenants’ lives are entangled together in the ups and downs of the day-to-day, for better or for worse. The neighbors in the unit next door are friends or family, childhood rivals or enterprising business partners. In other words, Harlem is home. But the rent is due, and the clock of gentrification—never far from anyone’s mind—is ticking louder now than ever. In eight interconnected stories, Sidik Fofana conjures a residential community under pressure. There is Swan, in apartment 6B, whose excitement about his friend’s release from prison jeopardizes the life he’s been trying to lead. Mimi, in apartment 14D, hustles to raise the child she had with Swan, waitressing at Roscoe’s and doing hair on the side. And Quanneisha B. Miles, in apartment 21J, is a former gymnast with a good education who wishes she could leave Banneker for good, but can’t seem to escape the building’s gravitational pull. We root for the tight-knit cast of characters as they weave in and out of one another’s narratives, working to escape their pasts and blaze new paths forward for themselves and the people they love. All the while we brace, as they do, for the challenges of a rapidly shifting future. Stories from the Tenants Downstairs brilliantly captures the joy and pain of the human experience in this “singular accomplishment from a writer to watch” (Library Journal, starred review).