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Krug explores what her German ancestors did before, during, and after World War II. She discusses what she learned as a child growing up, what people did and did not talk about, and the questions she wanted answered as an adult. There is plenty of drawing here, but Krug also uses collage: a mixture of documents, photographs, and her own drawings. She's a good storyteller as she follows the trail of evidence where it leads, and is open and honest about her own discomfort. The book struck me as an effective investigation of the relationship between one's own personal life to larger, terrifying historical forces. The graphic medium was a great way to render this story, allowing Krug to mix contemporary documents with the reactions she imagines (or knew) about her ancestors.

I only knew the barest outlines of this story, so I was glad that I got the opportunity to learn more. Anyabwile's artwork is well suited to the storytelling -- the drawings have a wonderful sense of motion and speed. It took me back to some of the earliest history reading that I did as a kid: I would go to the public library and devour all the biographies I could get my hands on. It was a great entrée into history at the time, and I can easily see a younger version of me having loved this book too. Glad I got the chance to read it!

Although Sherman has had a long and rich career of government service, this book focuses primarily on her role in the negotiations with Iran which resulted in the Joint Comprehensive Plan of Action in 2015. The book is sprinkled with her accounts of growing up and the route which eventually led her to face off with the Iranians across the negotiating table. She is thoughtful and honest about the particular challenges faced by women in positions of power traditionally held by men. Certainly a great book for anyone interested in the history of these particular negotiations, but also much wisdom included for anyone considering a role in government service -- including the pain of seeing so much hard work scotched by a subsequent administration.

I am reading this in an effort to get a grip on books which are being banned across the country. I think I have an idea of why this one makes the list, but no spoilers here. The book is written in a direct, engaging, self-deprecating first person. It brings home the reality of life on the economic margins of modern America. The narrator is witty and compelling, and you can't but help for root for him as he navigates the twists and turns that life gives him. The collection of characters he assembles as his family and friends seems true to life. Don't ban this one; read it.

Mantel's fictional retelling of the life of Cromwell continues, using the same conceits as the first book ("he" is always Cromwell). I assume no spoiler warnings are needed for a book describing events that took place 480 years ago: the book concerns the fall of Anne Boleyn, and Cromwell's role in making that happen. As Cromwell circles his prey and closes in, Mantel's writing is riveting and the verbal sparring is absolutely chilling. Reading it was an total pleasure.

I've been trying to read more books about novels, and this is another entry in that genre. Given the time of its publication (1927), the examples are necessarily restricted, but Forster does make some interesting points -- I was particularly struck by what he wrote about the endings of novels, and the overuse of weddings and death as authors look for an "out." I was unable to find the exact edition that I read in Boookwyrm -- I read the Abinger edition of Forster, edited by Oliver Stallybrass, published by Edward Arnold in 1974. This edition has extensive notes and excerpts from Forster's other writings that demonstrate his thinking in preparation of these lectures. Since these were presented as lectures, the writing itself has a nice conversational style that is easy to follow.

A delightful, quirky little book. It is so short, that I feel I can't really describe much without giving away major plot points, but it all comes together very nicely, and not a single word is out of place. Marvelous!

This book is what it is -- and it's a college textbook. Nevertheless, it is a textbook I wish I had had years ago, and it is an accessible, readable introduction to different modes of literary criticism, with some of the strengths and weaknesses of each. Lynn gives loads of examples and writes a sample essay in the style of each mode of criticism. Surely useful for the student in class, but what kept me (as a non-student) was his witty and conversational style. I picked this book up because I have been reading more novels and wanted to know more about literary criticism, and this book was perfectly suited to that purpose.

This book is what it is -- and it's a college textbook. Nevertheless, it is a textbook I wish I had had years ago, and it is an accessible, readable introduction to different modes of literary criticism, with some of the strengths and weaknesses of each. Lynn gives loads of examples and writes a sample essay in the style of each mode of criticism. Surely useful for the student in class, but what kept me (as a non-student) was his witty and conversational style. I picked this book up because I have been reading more novels and wanted to know more about literary criticism, and this book was perfectly suited to that purpose.

Hua Hsu's touching memoir hits all the right notes for me as a fellow member of Generation X -- early experiments with the Internet, turning up the nose at frat boys who liked Dave Matthews, and so on. But the book is, of course, about friendship, and it all rings true. I don't think it is a spoiler to say that near the end of the book Hsu observes that with his friends from college, they could have stayed together forever or drifted apart -- a sobering reminder of the small events or chance happenings on which friendships sometimes hinge. Hsu's book is moving, tragic, thoughtful, funny, and I couldn't stop reading it. Top notch.

This is a book that had been recommended to me by many people, and I finally got a chance to read it recently. The book has won enough acclaim that it doesn't need me to pile on, but as someone who doesn't read a lot of graphic works, I was struck at how essential the "graphic-ness" (?!) was to telling the story. I'm not sure the book would have been as effective if it was only told with words, but Bechdel's chosen medium is potent and convincing. The book itself is rich and displays Bechdel's erudition and love of literature. I went in thinking this would be a book that I would respect, and came out loving it.