Reviews

Appraisals that develop their own shape and urgency. Investigations opening unseen vistas.

Danielle Mckinney, Table for Two (detail), featured in AGNI 103

Featured

Angel with a Flower on Her Chest

Review by Seán Carlson

In late summer 2005, I disembarked in the city of Mostar after a three- or four-hour bus ride from Dubrovnik, the vaunted pearl of the Adriatic in neighboring Croatia. The wars that had dismantled Yugoslavia . . .

Hurling On for Fame: John Berryman’s Uncollected Dream Songs

Review by Mark Neely

In 1964, John Berryman sat in Abbott Hospital in Minneapolis, recovering from an alcohol-fueled East Coast reading tour, and sketched out a plan for The Dream Songs . . .

Ledia Xhoga’s Misinterpretation: A Guide to the Intimacy of Language and Translation

Review by Suzana Vuljevic

Ledia Xhoga’s debut novel, Misinterpretation, follows an unnamed Albanian woman adrift in present-day New York City, a translator and interpreter plagued by an unshakable feeling of alienation.

Placenta-Book: On Água Viva by Clarice Lispector

Review by Patrick Autréaux Translated from the French by Tobias Ryan

Agua-viva means jellyfish in Portuguese. More often than not, we don’t see jellyfish, we feel them: they sting our legs or arms, they burn our backs and stomachs, their acid licks at wounds that we never knew we had.

Hauling Up, Weighing Out

Review by Sven Birkerts

It was in one of our long-ago conversations that I first heard about Joan Wickersham’s immersion in what she called her Vasa project, a most unlikely-sounding undertaking . . .

Submit Reviews to AGNI

Editor’s Note by agnimag

Under the stewardship of Reviews Editor Rachel Mennies, we’re looking for roughly 1,500-to-3,000-word review essays that lift us to your singular inquiry-driven vantage: show us what your chosen book reveals to you that only you can show. Begin new conversations; bring us along for your investigations . . .

In Discussion: AGNI 95 Reviews AGNI 95

A 2022 reviews portfolio in celebration of AGNI‘s 50th.

“The generosity of this engagement—the sort one might have with AGNI in one hand, a coffee or beer in the other, and friends across the table—represents a path for extending the conversation about each issue beyond its publication date: a way to keep the party going.”

Everything that would lend serenity to a Virgilian pastoral poem—the animals, the vegetation—here contributes to a sense of uneasiness: a bird dashes frantically because it can’t fly; a shrub emerges through salt that has come to the surface because of a rising water table, itself the result of deforestation.

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