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writers' hub
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REVIEWS   (Page 2 of 5)

Amy Bird reviews England's Lane by Joseph Connolly.


Valeria Melchioretto reviews Lionel Shriver's book The New Republic - a political satire set in the fictional Portugese province of 'Barba'.


Daniel Bourke reviews The Infatuations by Javier Marías - "ambitious, high-spec literature live and in action."


Rebecca Rouillard reviews Maria Semple's book Where'd You Go, Bernadette -  shortlisted for the 2013 Women’s Prize for Fiction.


Rebecca Rouillard reviews Matt Haig's new book The Humans.


Valeria Melchioretto reviews Ron Rash's latest book The Cove which explores a devastating chain of events that occur in an Appalachian town, set in motion by World War I on the other side of the world.


Dennis Duncan introduces The Castle of Crossed Destinies - a fascinating collection of Italo Calvino stories that uses Tarot cards to inform the structure and the narrative.


Fiona Melrose dissects Dave Eggers' A Hologram for the King: 'The body is America and the book is a postmortem for the American dream.'


Pow! by Nobel Prize winner Mo Yan was first published in China ten years ago but has now, due to popular demand, been translated into English...


Sue Wiseman introduces The Blacke Dogge of Newgate - a mysterious publication written by a highwayman at the end of the 16th century.


Fiona Melrose reviews Black Vodka - the eagerly-anticipated short story collection by Booker-shortlisted author Deborah Levy.


In the wake of angst-ridden vampires and love-lorn werewolves, is there any hope for zombies? Antonia Reed reviews Warm Bodies - the book and its cinematic interpretation.


'A narrative voice halfway between Raymond Chandler and Monty Python' - Valeria Melchioretto reviews Andrey Kurkov's The Milkman in the Night.


Daniel Bourke reviews Both Flesh and Not - a collection of essays by David Foster Wallace.


Rebecca Rouillard reviews Merivel - the sequel to Rose Tremain’s 1989, Booker-shortlisted novel Restoration.


David Eldridge recommends Peggy: The Life of Margaret Ramsay Play Agent by Colin Chambers.


Julia Bell reviews Niall Griffiths' new book A Great Big Shining Star - 'a plea and a howl and an exhortation to the reader to Pay Attention to What Really Matters'...


What would you do if there were three of you? Amy Bird reviews Beside Myself, an interactive novel designed for the iPad, that explores the conceptual possibilities of narrative in the digital form.


Valeria Melchioretto reviews The Hunger Angel - the latest novel by the Noble prize winning author Herta Müller.


Fiona Melrose reviews Barbara Kingsolver's new novel Flight Behaviour - a lyrical treatise on environmentalism, class and religion set in rural Appalachia.


An 'elegant dissection of flawed human relationships' - Zoe Ranson reviews Gwendoline Riley's latest book.


"Probably the only pleasure of being Really Properly Ill over Christmas was that it gave me lots of time to catch up with my reading..."


Julia Bell picks her favourite books of the year.


Heike Bauer recommends two books that were meaningful for her in mourning the death of her father.


Valeria Melchioretto reviews the 2012 BBC Short Story Award Anthology.


Zoe Ranson reviews Alan Warner’s sixth novel The Stars in the Bright Sky - an exploration into the intricacies of female friendship set in the unglamorous metal intestines of Gatwick airport.


Toby Litt recommends The Noise of Time by Osip Mandelstam.

 


Keith Ridgway's Hawthorn & Child has been the subject of a relentless viral publicity campaign on Twitter instigated by John Self - but does the book live up to the hype?


Amy Bird reviews Sebastian Faulks' new novel - A Possible Life.


Valeria Melchioretto reviews Timothy Mo's first novel in a decade.


Fiona Melrose reviews George Saunders' new collection of short stories which will be published in the UK by Bloomsbury in January next year.


Liane Strauss introduces us to Birkbeck's own war poet, Isaac Rosenberg, and to Paul Fussell's The Great War and Modern Memory: 'In warfare, “the red/Sweet wine of youth” is just blood. Then we used those terms unironically; afterwards, they became inescapably ironic.'


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