“Even when O’Meara lingers too long on a scene gone wrong, it is mostly with enjoyable veracity. ‘Chandelier’ is a true poet’s novel.” In @reviewcanada, Ian Canon reviews David O’Meara’s debut novel, “Chandelier” -

“All the stories in ‘The Bewitched Bourgeois’ possess an enthralling and disturbing quality.” In @LAReviewofBooks, Valentina Polcini reviews Dino Buzzati’s newly translated story collection, “The Bewitched Bourgeois” -

“Pârvulescu’s hermeneutic transformations of the tale are impressive.” In @RainTaxiReview, Rick Henry reviews Ioana Pârvulescu’s newly translated novel, “Jonah and His Daughter” -

“The novel is an intensely character-driven tale about what it means to be a woman and a mother and how these two identities interact.” In @thetribuneca, Isobel Bray reviews Hanna Stoltenberg’s newly translated novel, “Near Distance” -

“Voice is the most significant way in which Saisio showcases the character’s fragmentation.” In @asymptotejrnl, Areeb Ahmad reviews Pirkko Saisio’s newly translated novel, “Lowest Common Denominator” -

“This is poetry that shoots past the anti-rhymers’ picket line and doesn’t stop.” In @OLRReview, Eric Bies reviews Oli Hazzard’s new poetry collection, “Sleepers Awake” -

“Serle is intimately familiar with Dabos’ style of writing and worldbuilding, lending credence to her translation of ‘Here, and Only Here.’” In @ReadinginTrans, Camille Coker reviews Christelle Dabos’ newly translated novel, “Here, and Only Here” -

“Andonovski reveals the narrator’s unflappable sense of authority, as he never stops to wonder whether his own perception is correct.” In @fullstopmag, Eamon McGrath reviews Petar Andonovski’s newly translated novel, “The Summer Without You” -

“Like its precursor, ‘Sun City’ offers a kind of picaresque.” In @TheBrooklynRail, Vanessa Lily Chung reviews Tove Jansson’s newly reissued novel, “Sun City” -

“It’s a breezy read with a bite and asks more questions than it has space to answer.” In @BookReviewsAsia, Mahika Dhar reviews Kim Ryeo-ryeong’s newly translated novel, “The Trunk” -

“Beginning with such modest aims, Kristóf managed to create a remarkable oeuvre and a startilingly original contribution to the literature of exile.” In @On_The_Seawall, Wim Hylen reviews Ágota Kristóf’s newly translated story collection, “I Don’t Care” -

“Monterroso played with form and resisted classification, but never for the mere act of disrupting.” In @SouthwestReview, Efrén Ordóñez Garza reviews Augusto Monterroso’s newly translated novel, “The Rest Is Silence” -

“‘Andromeda’ invites you into the gray area, where technically nothing is wrong, but you aren’t sure if it’s right either.” In @ChicagoRevBooks, Madeline Schultz reviews Therese Bohman’s newly translated novel, “Andromeda” -

“Happily, though, a wry humor and compassion give these well-crafted, moving stories balance and warmth.” In @NecessaryFic, Sarah Holloway reviews Amy Stuber’s debut short story collection, “Sad Grownups” -

“Sanki’s poems oscillate between tender observations of the natural world, and absurd, sometimes politically inclined commentary” In Poetry Foundation, Janani Ambikapathy reviews Sanki Saitō’s newly translated poetry collection, “Three Demons” -

“The dynamic interplay he achieves between poetry and despair—the calibrated, hypnotic beauty of his prose—is wholly absorbing.” In @Harpers, Sam Sacks reviews John McGahern’s newly reissued novel, “The Pornographer” -

“The narrator’s life outside of Barbie World informs her playtime, and the war increasingly crops up as the novel goes on.” In Words Without Borders, Cory Oldweiler reviews Maša Kolanović’s newly translated novel, “Underground Barbie” -

“Levrero’s characters often uncover something long neglected, or turn inward in some other way.” In @clereviewbooks, Colm McKenna reviews Mario Levrero’s newly translated short story collection, “The Thinking-About-Gladys Machine” -

“It is a magnificent, startling output during what might be the poet’s closing years of writing life.” In @RainTaxiReview, Patrick James Dunagan reviews J.H. Prynne’s “Poems: 2016-2024” -

“What ‘Gliff’ suggests is that dystopia is no longer a counterfactual. It is now manifestly present and far-reaching, and it’s up to us to cast off our chains.” In @sciam, Lydia Millet reviews Ali Smith’s new novel, “Gliff” -