Griffiths describes herself in the series as “a woman whose spirit is both emaciated and exhilarated in the face of monumental loss.”
Many of the stories end with no satisfying resolution. This ambiguity can be frustrating or soothing.
Undocumented people need not be “heroes” for their stories to be important, valid, and, above all, told.
Brian’s decision to return home to Chester, Ohio — after living in New York City for six years and contracting AIDS in the middle of the crisis that gripped the 1980s — is at once an understandable and perplexing one.
It’s extremely unlikely that a woman listening to this will think, “ah yes, I feel sexy and appreciated when Justin talks about my ‘yummy-yum.’”
Selena Gomez’s first album since 2015, “Rare,” comes her closest to being vocally and lyrically genuine, but never quite gets there.
There is no precedent for what Meghan Markle and Prince Harry, of British royal family fame, have done, and yet they still did it.
Two aspects of Anna Wiener’s memoir, “Uncanny Valley” immediately make themselves apparent: its understated observations and attention to detail.
Giving “Cats” one star is an unfortunate concession rooted in disgusted pity.
"Boys and Sex" chronicles boys’ relationships to, perspectives on, and understandings of their sex lives within the wider fraught worlds that are high school and college.
“Knives Out” evokes memories of Agatha Christie novels: a small cast of characters, multiple petty squabbles, and one charmingly-accented detective.
Such advertising speaks to the American tendency to reduce everything to a sound bite, something that we can digest without much thought or engagement.
It’s hard to not feel just a little bit cheated after reading the first two dozen pages of Elena Ferrante’s new book, “Incidental Inventions.”
It’s understandable to have missed the mid-November debacle that concerned Sarah Dessen, YA literature, and people’s irrational tendencies to jump into a debate about which they do not possess all the facts.
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