An Ordinary Female Life: On Rachel Cusk’s “Parade”
We understand, through the haze of her so extremely un-Cusk-like uncertainty, exactly why she turns to both gender and visuality in the two novels she’s written since. She is looking for a way out.
The Internet’s Greatest Grifter: On Caroline Calloway’s “Scammer”
There’s also the question of genre itself: there’s an established tradition in American letters of privileging storytelling over truth-telling when it comes to what we might call literary journalism.