"This book's unvarnished quality is the source of its wrecking cumulative power. Barthes's ironic intellect, apparent everywhere in his many books, is wrapped here around his sore and nakedly beating heart."—Dwight Garner, The New York Times

"Barthes's most popular and unusual performance as a writer is A Lover's Discourse, a writing out of the discourse of love. This language—primarily the complaints and reflections of the lover when alone, not exchanges of a lover with his or her partner—is unfashionable. Thought it is spoken by millions of people, diffused in our popular romances and television programs as well as in serious literature, there is no institution that explores, maintains, modifies, judges, repeats, and otherwise assumes responsibility for this discourse . . . Writing out the figures of a neglected discourse, Barthes surprises us in A Lover's Discourse by making love, in its most absurd and sentimental forms, an object of interest."—Jonathan Culler

"This is a great book—flawed, impossible, infuriating, and moving . . . but he has accomplished in this extraordinary book something finer than mere polemic. En route to his last painful discovery, Barthes takes the reader on an exquisitely rendered, lyrical journey into the heart of his own life and the medium he came to love, a medium that flirts constantly with the 'intractable reality' of the human condition."—Douglas Davis, Newsweek

"Highly original, extremely fertile and inventive, [Barthes] really does represent, in a peculiarly qualified way, a new kind of writing, and he continually discovers new ways or writing about writing . . . It is a remarkable book."—Frank Kermode, The New York Times Book Review

"A marvelously engrossing historical novel . . . [Emily Barton] has armed [her] imagination with facts and tone that realistically evoke 18th century New York in an utterly convincing and involving way . . . In Brookland, [she] has taken an elegant way with questions of thought-provoking substance and has made a very fine and satisfying novel. And, if there is heartbreak at its end, those hearts are broken over things that mattered then—and still."—Tim Rutten, Los Angeles Times

"What [Nylon Road] really reveals is how little the two cultures really know about each other, let alone being able to understand and sympathize with each other.  It’s an eye-opening book, particularly in the treatment of women in Iran . . . But while portraying these events from her past, Bashi also speaks up about ways in which Europeans or Americans are insensitive or unfair . . . The book is worth reading, if for no other reason than that there’s very little like this, and it takes guts to describe a difficult life with such honesty and candor. If everyone had access to more books like Nylon Road, then perhaps we would have an easier time taking somebody else’s perspective into account."—Jonathan Liu, Wired

“The seven essays here are expansive, wide-ranging, almost impossible to categorize, merging criticism and personal experience, scholarship and life. Although bounded by the author’s devotion to Russian literature, The Possessed is really a kind of autobiography in reading, in which the characters are Tolstoy, Isaac Babel and Pushkin.”—David Ulin, Los Angeles Times

"Think of subtext in fiction as water; its characters, swimmers on the surface. Like water, subtext is everywhere, ubiquitous and buoyant, darker in its depths, the stuff of immersion. The beauty of Baxter's inaugural entry in Graywolf's . . . 'Art of' series, which draws on examples in literature to instruct on the writing craft, is that it doesn't assume to try and capture the whole of subtext . . . Instead, it focuses on very specific qualities composing it: the art of staging in a story, the importance of inflection in dialog, the ambiguity of motivation. To make the often translucent substance more visible, Baxter highlights excerpts from a wide range of fiction, from the contemporaneous and familiar to the foreign and esoteric . . . Baxter's book will help readers read more creatively and writers to float their stories . . . Highly recommended for all academic libraries."—Maria Kochis, Library Journal

"[The book] is a pleasure to read, and it performs an important function—by mucking around in the problems that plague contemporary fiction, Burning Down the House may spur both readers and writers first to a recognition of guilty complicity and then to constructive thought."—The New York Times Book Review