At the New York Times, Kaitlyn Greenidge discusses her new novel, Libertie, and how she sought to tell stories from communities not commonly heard from in history books. “I’ve always been interested in the histories of things that are lesser known,” Greenidge says. “If you come from a marginalized community, one of the ways you are marginalized is people telling you that you don’t have any history, or that your history is somehow diminished, or it’s very flat, or it’s not somehow as rich as the dominant history.”
“Thinking about her life is like sifting ashes. You believe you see the clear outline of a message, but it inevitably disintegrates before you can be sure of its sense. The mantle of a ‘rediscovered writer’ has never settled firmly around [her] shoulders; she has a way of resisting the platitudes of remembering.” Michelle Dean on the writer Nella Larsen.
David Denby wonders: After nearly 150 years have passed since its initial publication and countless imitators have blunted its artistic radicalism does Dostoevsky’s Notes from the Underground still pack a punch? For more contemporary readings of Dostoevsky, see Rob Goodman’s recent article on forensics, The Brothers Karamazov and the death of the courtroom drama.