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Brianna Di Monda

Brianna Di Monda is a contributing editor for Cleveland Review of Books. Her fiction and criticism have appeared or are forthcoming in Litro Magazine, Chicago Review of Books, and Full Stop, among others. She wants to know what you think about Camilla becoming Queen Consort.

Sarah Rose Etter’s Ripe

Surrealist writers push the boundaries of language and plot, taking an oblique approach to the quotidian in order to hint at higher potentials for reality. It’s within this realm that Sarah Rose Etter plays, employing surrealism to unveil deeper revelations and risks in her writing.

Pablo Larraín’s Spencer

A close look at the two women’s lives reveals similar dramatic encounters with the press negotiated on strikingly different terms. Neither identified with the public roles thrust upon them, and each struggled for control in opposing spheres of their lives. A single contract unmoored both of their lives.

Andrew Dominik’s Blonde

As it is, Andrew Dominik’s Blonde (2022) is the twenty-second movie about Monroe, and when you look past its eye-rolling shock factor, its high-profile actors, and its attempts at arthouse, it remains the same tired story we’ve always gotten. But this time, Andrew Dominik, Joyce Carol Oates, and even Ana de Armas have the audacity to tell us that what they’ve done to Monroe is a feminist act.


The Brooklyn Rail

SEPT 2023

All Issues