John Horne Burns, The Gallery, introduction by Paul Fussel (New York: New York Review Books Classics, 1947, 2004):
Our propaganda did everything but tell us Americans the truth: that we had most of the riches of the modern world, but very little of its soul. We were nice enough guys in our own country, most us; but when we got overseas, we couldn't resist the temptation to turn a dollar or two at the expense of people who were already down. I can speak only of Italy, for I didn't see France or Germany. But with our Hollywood ethics and our radio network reasoning we didn't take the trouble to think out the fact that the war was supposed to be against fascism--not against every man, woman and child in Italy. . . . But then a modern war is total. Armies on the battlefield are simply a remnant from the old kind of war. In the 1944 war everyone's hand ended by being against everyone else's. Civilization was already dead, but nobody bothered to admit this to himself.Id. at 259-260.
Petra Hammesfhar, The Lie, translated from the German by Mike Mitchell (London: Bitter Lemon Press, 2009).
Robert Harris, Munich: A Novel (New York: Knopf, 2018).
Hallgrimor, Helgason, Women at 1,000 Degrees: A Novel, translated from the Icelandic by Brian FitzGibbon (Chapel Hill: Algonquin Books, 2018).
Denis Johnson, The Largesse of the Sea Maiden: Stories (New York: Random House, 2018).
William Melvin Kelley, A Different Drummer, foreword by David Bradley (New York: Anchor Books, 1969, 1989).
Hanif Kureish, The Nothing (London: Faber & Faber, 2017).
Fiona Mozley, Elmet: A Novel (Chapel Hill: Algonquin Books of Chapel Hill, 2017).
Nathaniel Rich, King Zeno: A Novel (New York: MCD/Farrar, Straus & Giroux, 2018).
Leila Slimani, The Perfect Nanny: A Novel, translated from the French by Sam Taylor (New York: Penguin Books, 2018).
Madeleine Thien, Dogs at the Perimeter: A Novel (New York: Norton, 2011, 2017).
Leni Zumas, Red Clocks: A Novel (New York: Little, Brown, 2018).
