The Yale Review

A fearless writer confronts grief and transforms it into art, in a book of surprising beauty and love, "a masterpiece by a master” (Elizabeth McCracken, Vanity Fair). "Li has converted the messy and devastating stuff of life into a remarkable work of art.”—The Wall Street Journal WINNER OF THE PEN/JEAN STEIN AWARD • LONGLISTED FOR THE PEN/FAULKNER AWARD • NAMED ONE OF THE TEN BEST FICTION BOOKS OF THE YEAR BY TIME AND ONE OF THE BEST BOOKS OF THE YEAR BY Parul Seghal, The New York Times • NPR • The Guardian • The Paris Review The narrator of Where Reasons End writes, “I had but one delusion, which I held on to with all my willpower: We once gave Nikolai a life of flesh and blood; and I’m doing it over again, this time by words.” Yiyun Li meets life’s deepest sorrows as she imagines a conversation between a mother and child in a timeless world. Composed in the months after she lost a child to suicide, Where Reasons End trespasses into the space between life and death as mother and child talk, free from old images and narratives. Deeply moving, these conversations portray the love and complexity of a relationship. Written with originality, precision, and poise, Where Reasons End is suffused with intimacy, inescapable pain, and fierce love.

'Extraordinary. It is about death, but I can think of few books which have such life. It shows us what love is.' Max Porter, author of Grief is the Thing With Feathers and Lanny 'There is no one quite like Naja Marie Aidt' Valeria Luiselli 'Devastating, angry, challenging, fragmented and filled with the beautiful hope that the love we have for people continues into the world even after they're gone.' Culturefly 'Fragmented, poetic, informative and truthful, Aidt faces the greatest loss we can ever know with all the force of great elegy writers like Anne Carson and Denise Riley. Essential.' Polly Clark, author of Larchfield and Tiger _______ "I raise my glass to my eldest son. His pregnant wife and daughter are sleeping above us. Outside, the March evening is cold and clear. 'To life!' I say as the glasses clink with a delicate and pleasing sound. My mother says something to the dog. Then the phone rings. We don't answer it. Who could be calling so late on a Saturday evening?" In March 2015, Naja Marie Aidt's 25-year-old son, Carl, died in a tragic accident. When Death Takes Something From You Give It Back is about losing a child. It is about formulating a vocabulary to express the deepest kind of pain. And it's about finding a way to write about a reality invaded by grief, lessened by loss. Faced with the sudden emptiness of language, Naja finds solace in the anguish of Joan Didion, Nick Cave, C.S. Lewis, Mallarmé, Plato and other writers who have suffered the deadening impact of loss. Their torment suffuses with her own as Naja wrestles with words and contests their capacity to speak for the depths of her sorrow. This palimpsest of mourning enables Naja to turn over the pathetic, precious transience of existence and articulates her greatest fear: to forget. The insistent compulsion to reconstruct the harrowing aftermath of Carl's death keeps him painfully present, while fragmented memories, journal entries and poetry inch her closer to piecing Carl's life together. Intensely moving and quietly devastating, this is what is it to be a family, what it is to love and lose, and what it is to treasure life in spite of death's indomitable resolve.

Every reader is a potential writer, and every writer is a reader in actuality. Reading Writing is a subjective history of fiction and poetry and a personal meditation on the links between literature and two visual arts: painting and cinema. Gracq's poetics is founded upon the basic acts of reading and writing and on the relationship between the writer and his language. This first English-language edition of En lisant en écrivant will mark a turning point in the public reception of Julien Gracq.

'A novel of love, war and death; brilliantly entertaining and far ahead of its time' Guardian 'She is my husband's mistress - and here am I, taking her out to dinner' Sophia Willoughby of Blandamer House, upstanding Victorian matriarch, has packed her errant husband off to Paris with his mistress Minna. But when tragedy throws her life off balance Sophia goes to seek him out, and instead finds herself intensely attracted to the charismatic, bohemian Minna, who leads her on a wild, chaotic adventure through a city in the throes of revolution. 'One of the great under-read British novelists of the twentieth century. This is my favourite of her novels' Sarah Waters 'Every page contains something brilliant, arresting or amusing, and one comes away from it staggered' Claire Harman

"For God, for country, and for Yale... in that order," William F. Buckley Jr. wrote as the dedication of his monumental work—a compendium of knowledge that still resonates within the halls of the Ivy League university that tried to cover up its political and religious bias. In 1951, a twenty-five-year-old Yale graduate published his first book, which exposed the "extraordinarily irresponsible educational attitude" that prevailed at his alma mater. The book, God and Man at Yale, rocked the academic world and catapulted its young author, William F. Buckley Jr. into the public spotlight. Now, half a century later, read the extraordinary work that began the modern conservative movement. Buckley's harsh assessment of his alma mater divulged the reality behind the institution's wholly secular education, even within the religion department and divinity school. Unabashed, one former Yale student details the importance of Christianity and heralds the modern conservative movement in his preeminent tell-all, God and Man at Yale: The Superstitions of "Academic Freedom."

PULITZER PRIZE FINALIST NATIONAL BOOK AWARD FINALIST A NEW YORK TIMES TOP 10 BOOK OF 2018 LOS ANGELES TIMES BOOK PRIZE WINNER ALA CARNEGIE MEDAL WINNER THE STONEWALL BOOK AWARD WINNER Soon to Be a Major Television Event, optioned by Amy Poehler “A page turner . . . An absorbing and emotionally riveting story about what it’s like to live during times of crisis.” —The New York Times Book Review A dazzling novel of friendship and redemption in the face of tragedy and loss set in 1980s Chicago and contemporary Paris In 1985, Yale Tishman, the development director for an art gallery in Chicago, is about to pull off an amazing coup, bringing in an extraordinary collection of 1920s paintings as a gift to the gallery. Yet as his career begins to flourish, the carnage of the AIDS epidemic grows around him. One by one, his friends are dying and after his friend Nico’s funeral, the virus circles closer and closer to Yale himself. Soon the only person he has left is Fiona, Nico’s little sister. Thirty years later, Fiona is in Paris tracking down her estranged daughter who disappeared into a cult. While staying with an old friend, a famous photographer who documented the Chicago crisis, she finds herself finally grappling with the devastating ways AIDS affected her life and her relationship with her daughter. The two intertwining stories take us through the heartbreak of the eighties and the chaos of the modern world, as both Yale and Fiona struggle to find goodness in the midst of disaster. Named a Best Book of 2018 by The New York Times Book Review, The Washington Post, NPR, San Francisco Chronicle, The Boston Globe, Entertainment Weekly, Buzzfeed, The Seattle Times, Bustle, Newsday, AM New York, BookPage, St. Louis Post-Dispatch, Lit Hub, Publishers Weekly, Kirkus Reviews, New York Public Library and Chicago Public Library

'The power of McSweeney's work cannot be separated from its association with forms of oracle and soothsaying, and so it is uncanny that it should arrive in the middle of a global pandemic... Frightening and brilliant' Dan Chiasson, New Yorker How does the body gestate grief? How does toxicity birth catastrophe? In the months leading up to her daughter Arachne's birth, US poet Joyelle McSweeney set out to write a quiver of poems like a quiver of poison arrows: formally and sonically virtuosic, laced with the poet's obsessive concerns with contamination, decay and the sublime, featuring a crown of 'toxic sonnets' for the tuberculosis bacterium that killed Keats. But when Arachne was born with an unexpected birth defect, lived briefly and died, the poet was visited by a second welter of poems, odes of love, grief, perplexity and rage. These two books, Toxicon & Arachne, form a double collection of poems weighing love, grief, art and survival in increasingly toxic days. Toxicon & Arachne is the culmination of eight years of engagement with lyric under a regime of global and personal catastrophes.

What does it really mean to love another person? Is there such a thing as the 'perfect' partner? How does infatuation differ from the real thing?The need to love is central to our idea of happiness, yet it sometimes seems that the more we reflect on it the more elusive it becomes. In this lucid and graceful meditation on the deeper meanings of intimacy, John Armstrong explores the ideas that have shaped how we view affairs of the heart. Drawing on poetry, novels, philosophy, paintings and music, he shows how love is inextricably bound up with perception and the imagination: that loving a real, complicated person and being understood and valued by them in turn is not something we find, but rather something we create.