“Old Enough: Southern Women Artists and Writers on Creativity and Aging”: Life-, Age-, and Art-Affirming Manifestos

A review of “Old Enough: Southern Women Artists and Writers on Creativity and Aging,” edited by Jay Lamar and Jennifer Horne with Wendy Reed and Lamar Jackson.

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A Wild Whatever in “Women We Buried, Women We Burned”

Rachel Louise Snyder’s memoir, “Women We Buried, Women We Burned,” is about grief and its reverberations, but also about re-making.

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Appalachian Music is Equalizer, Medicine, and Message in “The Express Way with Dulé Hill”

A review of the PBS documentary series, “The Express way with Dulé Hill.”

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Capturing “what it is like to live beside, beneath, above, near, and among others”: Lydia Davis’ “Our Strangers”

A review of Lydia Davis’ new collection, “Our Strangers.”

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Story Collection Blends the Venn Diagram Between “Weird” and “Feminist”

“As If She Had A Say” uses magical realism and fantastical elements to critique patriarchy in this genre-bending collection.

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“We Are Too Many” Beckons Women Not to Hide

“We Are Too Many” by Hannah Pittard is a genre-busting memoir investigating the failure of her marriage after her husband has an affair with her best friend.

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Reenvisioning Shakespeare with Peter Brook’s “Tip of the Tongue”

A review of “Tip of the Tongue: Reflections on Language and Meaning” by Peter Brook.

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Cursed Dolls, Horror, and Laugh-out-Loud Comedic Moments

Grady Hendrix’s “How to Sell a Haunted House” is a good old-fashioned ghost story, a gothic thrill ride.

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