: MORE PIECES

MORE PIECES

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•Horror’s Muse
•On the Market
•Year in Review: Twitter
•Sad as Hell

The New Republic

•Pen Pals

•Is Friendship Better then Romance?

•The Pseudoscience Wars: Who Safeguards Science?

WSJ

•The Blogger and the Radio Star

Tablet
•Jennifer Weiner’s Shiksa Lit

•Working Glass
•Counterlife

Wired

•Q&A with Mark Leyner

•Making Faces

•Interactive Tour Guide Helps Visitors Unravel NYC’s Secrets

Slate

•The Real Gallerists of New York County

•Be Our Guest

The Poetry Foundation
•Leigh Stein’s Blinkering, Connected Verse

•New Impressions: Raymond Roussel and the Upside of Crazy
•Mary Oliver and the Nature-esque

New York

•85 Minutes with Cecily Strong

•Who’s Afraid to Sit Through This Play Stone Sober?

•Size Once Mattered

•Trouser Math

•The Westway Way

•Peetie the Parakeet, Art-World Darling

Paper Monument

•See Something Say Something

The Boston Globe

•On Rosie Schaap’s Drinking with Men

•On Kathleen Alcott’s The Dangers of Proximal Alphabets

•On Charles Yu’s Sorry Please Thank You

•On Maggie Shipstead’s Seating Arrangements

•On Kim Barnes’s In the Kingdom of Men

•On Sarah Manguso’s The Guardians

•On Caitlin Flanagan’s Girl Land

•On Leigh Stein’s The Fallback Plan

•On Tom Zoellner’s A Safeway in Arizona

•On Helen DeWitt’s Lightning Rods

•On Justin Torres’s We the Animals

•On Tom Scocca’s Beijing Welcomes You

•On Nassir Ghaemi’s A First-Rate Madness

•On Ursula Hegi’s Children and Fire

•On Rahul Bhattacharya’s The Sly Company of People Who Care

•On Jon Ronson’s The Psychopath Test

•On Sigrid Nunez’s Sempre Susan

•On Margaux Fragoso’s Tiger, Tiger

The New York Observer
•Re-Twee’d: Joe Meno’s Office Girl
•Ghost in the Glades: Karen Russell’s Dirty Realist Debut
•Battle of the Sharpies

Bookforum

•Gender Troubles

Details

•I nside the Artist’s Studio: Will Cotton

The Daily

•Burning Brite

•Carbon Dated

The Daily Beast

•A Big Night for Books

NPR.org

•On Alix Kates Shulman’s Menage

•On John D’Agata and Jim Fingal’s The Lifespan of a Fact

•On Winifred Gallagher’s New

•On Chuck Klosterman’s A Visible Man

•On Josh Ritter’s Bright’s Passage

•On Meghan O’Rouke’s The Long Goodbye

•On Meg Wolitzer’s The Uncoupling

•On Anne Roiphe’s Art and Madness

•On Ben Tarnoff’s Moneymakers

•On Leigh Eric Schmidt’s Heaven’s Bride

This Recording

•Word for Word

•First World Problems

thirteen.org

•Catherine Breillat’s Wandering Beauty

•In Terri, the Ache of Our Former Selves

•Woody Allen’s ‘Midnight in Paris’

•Le Quattro Volte’s Wordless Thrill

•The Misplaced Focus of ‘Queen to Play’

•A Vidal Sassoon Slides on the Surface

•The Scorched Souls of Biutiful

•When the World Goes Kaboom

•Mike Leigh’s Another Year: Traditional Happiness Among the Sad and Lonely

•No Redemption for The Company of Men

•Compelling Parts Can’t Carry the Whole in Twelve Thirty

•Blue Valentine’s Exquisite Heartbreak

•Sofia Coppola’s Somewhere: A Beautiful Ride to Nowhere

•His Opposites Attract: Ryan Gosling’s Twee-Man Allure

•On Made in Dagenham and Doubting Your Own Sobriety

•The Familiar Destruction of White Material

•On Helena from the Wedding and Henry James

•Four Lions’ Joking Jihad

•Amorality Tale: Down Terrace’s Cursed Class

•Clone Like Me: On Ishiguro’s Never Let Me Go

Prospero

•The Q&A: Olivia Fox Cabane

•The Q&A: Liz Moore

•The Q&A: Alex Gilvarry

•On New York Memoirs