Shehrin Hossain

Can there be decisive action without discourse, even if it takes the form of one or two conversations between friends in a work of fiction?

In Shadow City: A Woman Walks Kabul (Vintage Books, 2019), Khan delineates a personal map of Kabul, taking the reader through the “shadow city” that can be found in its still-standing monuments, libraries, pleasure gardens, theatres, shopping malls, wedding halls and graveyards.

Early in July of this year, thousands of Cubans took to the streets, pushed over the course of the pandemic to a breaking point by a persistent, two-year-long shortage of medicine and—most importantly—food. Cuban protesters marched and shouted for an end to the Communist regime, which has lasted over six decades.

When I began reading Homeland Elegies (Little, Brown and Company, 2020), all I knew about it was that it was a memoir; an account of the life of the author, Ayad Akhtar—a second-generation Muslim immigrant with Pakistani parents who migrated to America to further their careers as doctors.

Effigies with their own minds, tinkling music boxes, mysterious cracks in the wall, and a long-haired spectre trailing the grounds of a vast,

Shirley (2020), directed by Josephine Decker and adapted by Sarah Gubbins from the 2014 eponymous novel by Susan Scarf Merrell, interweaves fact and fiction into an imagined narrative about the time when author Shirley Jackson was writing her second novel Hangsaman (1951).

how do you explain that love is a monstrous shape-shifting beast