For this book is the talking voice that runs on,

Dear Stevie, Once I entered your Novel on Yellow Paper (1936), I immediately noticed three things: that I was being held captive; that I was complicit in my captivity; and that the thing that held me inside was neither plot nor character, but something less tangible. I had fallen in love with a voice. Yours,…

The taste of the fog was at the back of their throats

Dear Elizabeth, Do you know this feeling we have when we quite unexpectedly understand why a particular book is a classic? When we understand what it means; when we suddenly get to know what it feels like. Have you ever felt it? When a book draws from a tradition it so thoroughly understands that it…

Shut the noise out with your own noise

Dear Patricia, WHILE READING your novel Deep Water (1957), I felt as if you had gradually thrust us into the muddy waters of your protagonist’s troubled mind. The book is narrated in third person through the perspective of Vic Van Allen, an inhibited man in his late thirties, who runs a small press in the…

And it could have been any street in the city

Dear Ann, How can one write a naturalist novel and still convey strong symbolic effect? I don’t know the answer, but I think you achieved that. The Street (1946) in your first novel is both a concrete space and a distorting mirror for a perverse version of the American Dream, a thin surface impossible to…

Everyone was fleeing and everything was temporary

Dear Anna, Do you know this feeling we have when something terrible happens in a dream and we must scream or run, but we find ourselves suddenly unable to do it? We have no voice, or our legs are suddenly unbearably heavy. This feeling of being trapped: that’s the stuff your novel Transit (tr. Margot…

They didn’t dare before; now they do, that’s all

Dear Anna, I was halfway through Manja (tr. Kate Phillips, 2003. Manja: Ein Roman um 5 Kinder, 1938) this past week, when your book acquired a new poignancy for me. Do you know that eerie feeling, when we overhear a stranger on the bus or out passing by us in the street, and, by accident,…

wade/ through black jade/of the crow-blue mussel-shells

Dear Adriana, As in your previous books, Crow Blue (2013, tr. Alison Entrekin, originally published in Portuguese in 2010) also depicts  a journey, through which the protagonists – unable to move beyond painful events in the past – are led to undertake some kind of personal rite of passage. After losing her mother at the age…

For she had a great variety of selves to call upon,

My dear, dearest Ginny, What stroke me the most in Orlando (1928) was the fact that you were once again so unabashedly bold – for having written a fictional novel and called it a biography; for having invented a life around a woman you had an affair with; ultimately, for having played with her body, making its…

Beware; for I am fearless, and therefore powerful

Dear Mary, While reading your tale of a grotesque but sentient creature who, in an unorthodox experiment, is endowed with the spark of life by the young scientist Victor Frankenstein, I found myself in search of the female perspective you might have left hidden behind one of the most popular books written by a woman in the 19th…

The pain of the moment, the awful uncontrolled joy, that was innocence

Dear Beryl, I read Harriet said… (written in 1958; published in 1972) during yet another sunny trip by bike, to which your dark coming-of-age novel offered a pleasantly disturbing contrast. At the beginning of the book, we are thrown outside, in the middle of the night, surrounded by screams and very much in the dark,…