Marco Roth is Tablet’s Critic at Large
Vince Passaro’s ‘Crazy Sorrow’ passed through the race, class, and gender shitstorms to become the best new novel no one has read yet
On faithful translation and who it is for
A new completist edition of Kafka’s diaries lures readers into the Kafkaesque experience of seeing the author dissolve into an auto-fictional scrapheap
‘Leopoldstadt’ and ‘The Fabelmans’
Noah Baumbach’s ‘White Noise’ dials back the anxiety and edits out the Jews
I bid goodbye to my boxes
Janet Malcolm’s successor at The New Yorker has a different take on the impossible profession
Searching for what is lost in ‘Le Temps Perdu,’ María Alvarez’s artful documentary on an Argentine book club
Everything you thought would prepare you for success instead narrows your chances of survival
Robert Eggers’ new film is a techno-shamanistic reversion of Shakespeare’s wordy ambivalence by way of ‘Game of Thrones’
The novelist’s latest, ‘Pure Colour,’ is a rare, playful synthesis of the universal and the intimate
Donald Antrim’s ‘One Friday in April’ gratefully embraces the medicalization of suicide
Marco Roth talks to, yells at, and pleads with Joshua Cohen about his new novel, ‘Moving Kings’
Trying to recall the exact moment my father told me he was dying
In Philip Roth’s new novel, an aging Zuckerman faces a youthful nemesis
Feeling betrayed by God, a father refuses to sacrifice his son
Can a son’s failure to have a bar mitzvah be a mitzvah?
Finding things in common with a boy from old L
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