Maureen Corrigan

Maureen Corrigan, book critic for NPR's Fresh Air, is a critic-in-residence and lecturer at Georgetown University. She is an associate editor of and contributor to Mystery and Suspense Writers (Scribner) and the winner of the 1999 Edgar Award for Criticism, presented by the Mystery Writers of America.

Corrigan served as a juror for the 2012 Pulitzer Prize in Fiction. So We Read On, her forthcoming book on the extraordinary "second act" of The Great Gatsby, will be published by Little, Brown in September 2014.

Corrigan's literary memoir, Leave Me Alone, I'm Reading! was published in 2005. Corrigan is also a reviewer and columnist for The Washington Post's Book World. In addition to serving on the advisory panel of The American Heritage Dictionary, she has chaired the Mystery and Suspense judges' panel of the Los Angeles TimesBook Prize.

There's something romantic about biographer Amanda Vaill's device of making the Hotel Florida in Madrid the hub of her new book about the Spanish Civil War, called Hotel Florida; but, then again, there's always been something romantic about the Spanish Civil War itself. For the Spanish loyalists — who were supported by Russia and Mexico as well as the International Brigades of civilians from Europe and the Americas — the Spanish Civil War was a gallant stand against fascism.

A Bintel Brief and The Harlem Hellfighters are two New York Stories. That's why I'm combining them in this review; not because — as some purists still think — they're lesser works of literature because they're graphic novels. If Egyptian hieroglyphics, the Bayeux Tapestry, and Art Spiegelman's 1991 classic, Maus, haven't yet convinced the high-art holdouts of the value of stories told in visual sequence, nothing I say now about these two books is likely to.

The title of Maggie Shipstead's second novel is: Astonish Me. She did just that --astonish me -- with her debut novel of 2012, called Seating Arrangements. After reading that novel, I likened the then 20-something-year-old Shipstead to "Edith Wharton with a millennial generation edge." The comparison remains sound.

Let's get the negative stuff out of the way first. Teju Cole's Every Day Is For The Thief is not much of a novel. Forget plot or character development: This is a piece of writing that's all about setting. If you take what Cole is offering here and value it on its own terms, you'll probably appreciate the curious magic at work in this slim not-quite-a-novel. In chapters that stand as separate, short vignettes, Every Day Is For The Thief describes a young New York doctor's visit back to his hometown of Lagos, Nigeria.

Picture this. You're a young girl, living in a remote town in Connecticut in 1825. You've taken refuge in a neighbor's house and, as night falls, you peek out a window to see your friends and family members assembling outdoors around two crude paintings: One is of a young white woman (you); the other painting is of a man, a Native American.

Beginning in 1952, and running through 1968, there was a legendary radio show called Klavan And Finch that was on WNEW in New York City. It was a four-hour live program featuring music and antic conversation between handsome, straight man Dee Finch and his live-wire counterpart, Gene Klavan.

Lorrie Moore isn't quite a household name. This was news to me, because I thought that, given that she's the kind of writer who's published in The New Yorker and profiled in The New York Times, most culture vultures would know who she is. But, over the past couple of weeks when I mentioned her new book, Bark, in conversations, both in the halls of academe and over meals with friends, I mostly got blank stares. (One smarty confused her with that other great literary "Lorrie" — the late Laurie Colwin — whose short stories and novels are also essential reading.)

Every year, students come into my office and say, "I don't know what I want to do with my life." Of course, plenty of people in the world don't have the luxury of such cluelessness, but my students don't look like they're enjoying their privilege; they look scared and depressed, as though they've already failed some big test of character. They might find some comfort in Michael Sims' new biography of the young Henry David Thoreau called, simply, The Adventures of Henry Thoreau.

In the opening paragraph of Moby-Dick, Ishmael tells us he takes to sea whenever he feels the onset of "a damp, drizzly November in [his] soul." I know how he feels. Whenever the frigid funk of February settles in, I, too, yearn to get out of town. This year I have, thanks to two exquisite vehicles of escape fiction. Both Rachel Pastan's Alena and Katherine Pancol's The Yellow Eyes of Crocodiles are smart entertainments perfect for curling up with on a winter's night.

The second best quality Diane Johnson has as a writer is that she's so smart. Her first best quality — and one that's far more rare — is that she credits her audience with being smart, too. Whether she's writing fiction, biography or essays, Johnson lets scenes and conversations speak for themselves, accruing power as they lodge in readers' minds.

Pages