The Foxed Page

Kimberly hates to be self-aggrandizing but she honestly thinks this might be some of her VERY BEST WORK. Pete Dexter's DEADWOOD is an absolutely gorgeous, warm, violent and super-engaging book. If you loved it, listen now. Kimberly couldn't help but discuss some spoilers, so if you haven't read it, do that and come right back here. DEADWOOD is SO GOOD.

Tuck into analysis of this slim novel to be TRANSPORTED by gorgeous prose, excellent historical ambiance and a wholly inspirational, sassy, independent MARGARET.

NO PRE-READING REQUIRED! Kimberly breaks down the first dozen pages to reveal WHY this tome is such a hit. Explore Verghese's use of language, sense of place, narrative voice and incorporation of history--to see why you loved the book OR to see how you can GET MORE out of this epic.

NO READING REQUIRED! PLOT seems simple but understanding its nuances can make a huge impact on how you read. Treat yourself to this discussion featuring Madame Bovary, Orlando, Kennedy's The Feast and Babitz's Slow Days, Fast Company.

Kimberly explores the similarities and profound differences between oft-compared literary GENIUSES Joan Didion and Eve Babitz . . . before digging in to why people keep lumping Emma Cline, and her new novel, in with these legends.

Kimberly breaks down the GENIUS in Gabrielle Blair's crucial book. Urgent and funny at times, the lecture also touches on Kimberly's own book. If you listen to one podcast here at the foxed page, MAKE IT THIS ONE.

Building on Claire Dederer’s defense of this incredible novel, Kimberly walks you through this new way to think about the misunderstood classic. She delves into why the prose is so insanely great and wraps up with a look at the genius sleight-of-hand that makes the book not only deeply engaging but also important.

If you don’t know what to do with great art made by horrible people, you need Monsters. Dederer’s surprisingly personal look at the issue is insightful and soooo smart. Her thoughts on Woody Allen, Michael Jackson, Virginia Woolf—and Nabokov’s Lolita—are fascinating and revelatory.

In part two, Kimberly focuses on the titular essay, “The White Album.”

In part three, we dive into aspects of the later essays that make this collection so important.

In part three, Kimberly digs into the depiction of maternity in the novel, and the close of the work.

Kimberly might not have loved Ferrante’s My Beautiful Friend, but she’s OBSESSED with The Lost Daughter. (Plus, the movie’s great.) In part one, Kimberly will argue why you should read this creepy little gem, discuss names in the novel, and dive into the opening of the book.

In part two, Kimberly analyzes the uncanny, strange feel of the novel, and the important pattern of proliferation of mothers, daughters and dolls.

No reading required! In this Dickens crash-course, Kimberly equips you to get even more out of Barbara Kingsolver’s incredible Demon Copperhead. Or to decide if you want to tackle this new bestseller! You’ll find out why Demon fits so well into a long literary tradition and why Kingsolver was SUCH a genius to choose this insanely effective scaffolding for her recent gem. 

In part two, Kimberly discusses the peripheral, third-person (“sidekick”) narrator, Mitford’s world-class dialogue and the novel’s pacing.

In part three, Kimberly discusses the artful depiction of maternity, Mitford’s humor, the novel’s blend of comedy/tragedy and the close of the book.

In part two, we look at structure, digression, narrative voice, and the use of found objects.

In part three, Kimberly explores the plot, motifs of memory, and the important inversion that makes the novel so moving

Some of you might be a little surprised at this title popping up here but tune in to find out how Hilderbrand’s serious talent means that this book rose to Kimberly’s very high standards. In part one, Kimberly will argue why you should read the book, take a quick dip into Hilderbrand’s bio., and explore the opening pages.

In part two, Kimberly discusses narrative voice, the deftly crafted plot, Hilderbrand’s impressive range, and her use of music and intertexts.

In part three, Kimberly explores figurative language, the satisfying character arcs, a few quibbles, and the close of the novel.

Get more out of reading by understanding the importance of which voice is telling the story and why it makes all the difference. Not only will you feel smarter and read better, but you’ll get to luxuriate in prose by true geniuses like Cervantes, Jane Austen, Tolstoy, Virginia Woolf and others.

In part three, Kimberly discusses the spare richness of the prose, figurative language, desire, and the close of the novel.

In part two, Kimberly discusses structure, the deft dialogue, the unusual voice of Edna, and why the plot is so well done.

In the final part, Kimberly discusses the issues of race, the use of the Korean language, and the close of the novel.