Reviews

  • "A harrowing but clear-eyed examination of crime's emotional fallout"

    David Nicholls
  • "Maggie Nelson’s short, singular books feel pretty light in the hand... But in the head and the heart, they seem unfathomably vast, their cleverness and odd beauty lingering on...her work is blazingly intimate"

    Rachel Cooke, Observer
  • "Powerful and searingly honest"

    Guardian
  • "Remarkable. I'm still reeling from its exhilarating brilliance"

    Claire-Louise Bennett
  • "A book-long riff on the first-person essay that Joan Didion built... Nelson eschews tidy resolution. She argues that stories are by nature imperfect – and yet she also shows us how they can become totally worthwhile"

    Time Out
  • "In writing The Red Parts, Nelson has made her own box holding the fragments of many things. It’s not a beautiful object, but a valuable, coolly shimmering one, which captures the raw bewilderment that can affect a family for generations after a violent loss"

    San Francisco Chronicle
  • "There is something daring in the intimacy of Nelson’s work... Her books, five works of nonfiction and four books of poetry, are light in your hands but heavy and powerful in all the nonliteral senses"

    New York Magazine
  • "Nelson balances starkness with sensitivity and salvages beauty from trauma, while also perverting every strong statement – arguing, softly, against absolutes in general and her own convictions in particular…uncertainty and vulnerability are what is so special about Nelson’s writing... The result is a victim impact statement as complex and perplexing as the case itself… By bouncing everything through the prism of her strong relations; by refusing to be intimidated by originality, Nelson is a true original"

    Irish Times
  • "Maggie Nelson is one of the most electrifying writers at work in America today, among the sharpest and most supple thinkers of her generation"

    Olivia Laing, Guardian
  • "Nelson is candid, funny and – for many years a poet – has a talent for compression and juxtaposition that makes for an enthralling use of language"

    Paul Laity, Guardian