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“What follows is, essentially, a 19th-century social novel for the 21st-century surveillance state.
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“Crain skillfully evokes a recent past when the unprecedented access fostered by the internet still felt like a promise of liberation,” our reviewer, Julian Lucas, writes. (Viking, $27.) Set during Occupy Wall Street in 2011, the second novel by the author of “Necessary Errors” explores the fallout that occurs when friendship’s intimate ambiguities become ammunition in an information war.
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… Trump tapped into our inner core, which all too often turns out to have comprised midnight cheeseburgers and hormonal TV childhoods.” “This book is really about the role played by all of us, the faithful citizens of TV Nation,” Gary Shteyngart writes, reviewing it. Perhaps his greatest accomplishment is making Trump’s presidency seem almost inevitable.
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(Liveright, $27.95.) Using his ample comedic gifts to describe a slow-boil tragedy, Poniewozik, the chief television critic of The New York Times, traces the contemporaneous histories of Trump and TV.
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In nonfiction, besides Moran’s sentence guide, we also like a history of Latin America, an environmental study of the Bering Strait and a book arguing that the United States could learn something from Germany about how to address historical crimes. (It may be worth noting that the author’s father, Richard Ellmann, wrote the definitive biography of James Joyce.) Other fiction we recommend this week includes Salman Rushdie’s latest, itself a Booker finalist, along with two novels about the surveillance state and one based on an 18th-century social experiment in extreme isolation. Possibly we have sentences on our mind this week because of Lucy Ellmann’s new novel, “Ducks, Newburyport,” a Booker Prize finalist that channels the voice of an Ohio housewife through a monologue that consists largely of a single 1,000-page sentence. This is one guide to stylish writing that’s a pleasure to read even if you never set pen to paper or finger to keyboard. “Sentences are our writing commons, the shared ground where every writer walks.” This claim appears early in Joe Moran’s lovely new book, “First You Write a Sentence,” and while you might quibble with its self-assured finality - why not the letter or the word, the paragraph or the page? - there’s no arguing with its graceful charm, which perfectly encapsulates the merits of Moran’s book.