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Maureen Corrigan

Maureen Corrigan, book critic for NPR's Fresh Air, is The Nicky and Jamie Grant Distinguished Professor of the Practice in Literary Criticism at Georgetown University. She is an associate editor of and contributor to Mystery and Suspense Writers (Scribner) and the winner of the 1999 Edgar Award for Criticism, presented by the Mystery Writers of America. In 2019, Corrigan was awarded the Nona Balakian Citation for Excellence in Reviewing by the National Book Critics Circle.

Corrigan served as a juror for the 2012 Pulitzer Prize in Fiction. Her book So We Read On: How The Great Gatsby Came To Be and Why It Endures was published by Little, Brown in September 2014. Corrigan is represented by Trinity Ray at The Tuesday Lecture Agency: trinity@tuesdayagency.com

Corrigan's literary memoir, Leave Me Alone, I'm Reading! was published in 2005. Corrigan is also a reviewer and columnist for The Washington Post's Book World. In addition to serving on the advisory panel of The American Heritage Dictionary, she has chaired the Mystery and Suspense judges' panel of the Los Angeles TimesBook Prize.

The Age of Miracles is literary fiction, but it spins out the same kind of "what if?" disaster plot that distinguishes many a classic sci-fi movie. Too bad the title The Day the Earth Stood Still was already taken, because it really would have been the perfect title for Thompson's novel.

In Jess Walter's new novel, Beautiful Ruins, there's a beaten-down character named Claire who works in Hollywood reading scripts for a living. Claire is inundated with reality TV show pitches, many of them featuring drunk models or drunk sex addicts — in short, scripts so offensive that, Claire thinks, to give them the green light for production would be akin to "singlehandedly hastening the apocalypse."

Summer is a season when people get hypersocial — with barbecues and neighborhood fairs, graduations and pool parties. In short, it's an especially trying time for those of us who'd rather stay indoors and read a book. My early summer reading list, therefore, takes the form of a loner's survival guide.

A dark and stormy night; an isolated manor house; a knock at the door. These are the surefire elements that have kept Agatha Christie's play The Mousetrap creaking continuously on the London stage ever since its premiere in 1952. And these are the very same elements that make Sadie Jones' new novel, The Uninvited Guests, such a delicious romp to read.

Whenever I think about Christopher Tilghman's writing — and I have many times since his atmospheric novel, Mason's Retreat, came out more than 15 years ago — I think of critic John Leonard. John, among many other distinctions, was my predecessor as book critic for Fresh Air and, every once in a while before his death in 2008, we'd have occasion to talk or exchange e-mails about books. I remember John sending me a note in 1996, in which he mentioned Mason's Retreat and said of Tilghman, "He's the real deal."

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