Dwight Garner finds some interesting history (but not particularly interesting writing) in Christopher Bram’s Eminent Outlaws: The Gay Writers Who Changed America. (NYTimes)

Emma Hagestadt peers into Joanna Trollope’s Daughters-in-law. (The Independent)

Kevin Canfield calls The Daily You: How the New Advertising Industry Is Defining Your Identity and Your Worth, by Joseph Turow, an “enlightening yet frustrating book. (San Francisco Chronicle)

One link. 32 reviews. (Seattle Times)

Joshilyn Jackson’s, A GROWN-UP KIND OF PRETTY, fares well at (Kirkus Reviews)

THE FAULT IN OUR STARS, by John Green, gets all the stars at (USA Today)

The Telegraph finds excellent new volumes of poetry from Kinsella, Byard, Mort, Padel, and Sebald. (The Telegraph)

The San Fransisco Chronicle fairly swoons over Liz Moore’s novel, HEFT. (SFGate.com)

This title is everywhere: THAT’S DISGUSTING: UNRAVELING THE MYSTERIES OF REVULSION, by Rachel Herz. (The Denver Post)

M. Rebekah Otto is quite enamored with John Jeremiah Sullivan’s collection of essays, Pulphead, going so far as to call it “a landmark debut of a new genre, invented by others but perfected here.” (The Rumpus)

Brian Dillon gets a kick out of the farcical debut novel by Will Wiles, Care of Wooden Floors. (The Telegraph)

Chris Erskine takes an entertaining trip through Steve Boman’s Film School: A Memoir That Will Change Your Life. (LATimes)

Dwight Garner peruses a new translation of The Kama Sutra, now with no drawings but plenty of explicit text. (NYTimes)

David Annand finds Roy Kesey’s Pacazi “a punishing novel”  but worth it. (The Telegraph)

Jeff Giles gives Katherine Boo’s Behind the Beautiful Forevers a solid A. (EW.com)

Heft, by Liz Moore, leaves a mostly positive impression on Katie Crouch. (San Francisco Chronicle)

Andy Woog gets past a few issues with Stewart O’Nan’s The Odds: A Love Story. (Seattle Times)

AP book reviewers team up to rate a quartet of mysteries and thrillers. (Chicago Sun-Times)

David Evans finds Anthony Summers’ Official and Confidential: The Secret Life of J Edgar Hoover “more exciting, and more damning” than the recent Clint Eastwood Film. (The Independent)

Mary Midgley ponders The Science Delusion, by Rupert Sheldrake. (The Guardian)

Jeanette Winterson suggests Frederick Turner’s Renegade: Henry Miller and the Making of “Tropic of Cancer” amounts to “a new round of mythmaking.” (NYTimes)

Lynell George recognizes the “pitch and cadence” of Gil Scott-Heron’s “unmistakable burnished baritone” in The Last Holiday : A Memoir. (LATimes)

Stephen Howe finds Bill Schwarz’s The White Man’s World an excellent first step in a planned three-volume set of historical studies.  (The Independent)

David Blair finds some hope for the Middle East in a triple-shot review of three books on The Arab Spring. (The Telegraph)

Nicholas Lezard declares The Oxford Book of Parodies an “essential, pretty much unputdownable anthology.” (The Guardian)

Steve Kistulentz heaps the praise on Adam Goldbarth’s new volume of poetry, Everyday People. (The Rumpus)

Susan Balée finds Jo Nesbø’s Leopard “a moral slough” due to its depiction of violence against women. (Philly.com)

Bob Minzesheimer says The Fault of Our Stars, by John Green, is not a “cancer book.” (USAToday)

William Landay’s thriller Defending Jacob scores a B+ from Thom Geier. (EW.com)

Tom Rob Smith closes his trilogy with a bang in Agent 6. (LATimes)

John Banville declares Philip Larkin’s “death certificate and memorial combined,” The Complete Poems, an “exhaustive, awe-inspiring monument” to the poet. (The Guardian)

Adam Gallari finds “a relatively successful effort” at fiction in playwright Alan Bennett’s comedic collection, Smut. (The Rumpus)

Rebecca Armstrong calls Tom Benn’s The Doll Princess a “madly bloody but sometimes brilliant book.” (The Independent)

Art Taylor takes a wild ride through Bret Lott’s Dead Low Tide—”here a murder mystery, there a late-blooming coming-of-age tale, suddenly a political thriller, intermittently a romance.” (The Washington Post)

Toby Clements offers up a quadruple-shot of historical fiction reviews. (The Telegraph)

In Elliot Perlman’s The Street Sweeper, Malcolm Forbes finds “an epic tale that spans decades and bridges generations while chronicling the predominant chapters of racial persecution perpetrated in the darkest hours of the 20th century.” (San Francisco Chronicle)

Chan Koonchung’s dystopian novel The Fat Years (translated from the Chinese by Michael S. Duke) impresses David L. Ulin. (LATimes)

Dwight Garner uncovers a “dignified by mild book” in The Mormon People: The Making of an American Faith by Matthew Bowman. (NYTimes)

Margot Livesey’s Jane Eyre “homage,” The Flight of Gemma Hardy, “transcends its time,” according to Robin Vidimos. (Denver Post)

Kitty Ferguson’s Stephen Hawking: An Unfettered Mind drifts a little too close to hagiography for Marcia Bartusiak’s taste. (Washington Post)

Joan Silverman fins Ben Marcus’ The Flame Alphabet a “dense and demanding novel.” (The Portland Press Herald / Maine Sunday Telegram)

Richard Marcus takes a fresh look at the 4-book boxed set of George R.R. Martin’s A Game of Thrones. (seattlepi.com)

Helen Dunmore functions nicely outside her normal comfort zone in The Greatcoat, according to Katy Guest, but it might not appeal to fans of her more literary historical novels. (The Independent)

J. Robert Lennon says Ben Marcus’ “first new book in a decade,” The Flame Alphabet, “has the feel of an event.” (NYTimes)

Beth Kephart lays out a road map to approaching Ayad Akhtar’s debut novel, American Dervish. (Chicago Tribune)

Mary Beard finds little new information (and more than a little fawning) in Sarah Bradford’s Queen Elizabeth II: Her Life in Our Times. (The Guardian)

Carolyn Kellogg admires Stewart O’Nan’s “light but steady touch” in The Odds: A Love Story. (LATimes)

Alex Clark is impressed with Edmund White’s “enjoyable chronicle of love and friendship,” Jack Holmes and His Friend. (The Guardian)

Charles Isherwood digs into Ian Donaldson’s Ben Jonson: A Life, noting that the author’s “analysis of Jonson’s writings is necessarily condensed, given the sheer mass of words produced, but he makes incisive arguments for the great comedies of contemporary London life, and gives almost equal due to the now all-but-unknown historical dramas, “Sejanus His Fall” and “Catiline His Conspiracy.”” (NYTimes)

Jeannine Hall enjoys the ride of Steve Fellner’s latest volume of poetry, The Weary World Rejoices. (The Rumpus)

In Adrienne Rich’s latest collection, Tonight No Poetry Will Serve, reviewer Stephan Delbos finds a poet “still capable of caustic, graceful expression.” (The Prague Post)

Diane Morasco gushes over If Fried Chicken Could Fly by Paige Shelton. (Seattlepi.com)

Peter Bridges gives John Lewis Gaddis five stars for George F. Kennan: An American Life. (California Literary Review)

Scott Martelle admires the historical depth in John M. Barry’s Roger Williams and the Creation of the American Soul. (Los Angeles Times)

Richard Rayner discovers The Real Romney, or at least the one described by the Boston Globe’s Michael Kranish and Scott Helman. (LATimes)

Jeannine Stein takes a rollicking ride through Carrie Fisher’s latest memoir installment, Shockaholic. (The Chicago Tribune)

Jeremy Noel-Tod finds a dash of Monty Python in Simon Armitage’s The Death of King Arthur. (The Telegraph)

Patricia Cohen finds Cullen Murphy a worthy guide through history in God’s Jury: The Inquisition and the Making of the Modern World. (NYTimes)

Jeff Ayers gives resounding approval to retired FBI agent Robert Fitzpatrick’s collaboration with Jon Land, Betrayal: Whitey Bulger and the FBI Agent Who Fought to Bring Him Down. (Chicago Sun-Times)

Lizzie Crocker and Malcolm Jones team up for rapid-fire reviews of ‘This Week’s Hot Reads.’ (The Daily Beast)

Daphne Guiness finds a starkly honest take on a world-famous artist in Christopher Simon Sykes’ Hockney: A Rake’s Progress. (Sydney Morning Herald)

Steven Pearlstein’s admiration is evident in his analysis of Niall Ferguson’s Civilization: The West and the Rest. (Washington Post)

Susanne Pari is impressed with the methods employed by Wael Ghonim in order to pull off Revolution 2.0: The Power of the People is Greater Than the People in Power. (San Francisco Chronicle)

Roz Kaveney discovers a “nicely measured taste for historical irony and plausible conspiracy theory” in Edward Wilson’s The Midnight Swimmer. (The Independent)

Ben Greenlee declares Adam Johnson’s The Orphan Master’s Son “a novel of immense compassion and hope, written with such empathy that no reader can visit its pages without asking themselves what their lives are really worth and what they’ll pay to live them.” (The Rumpus)

Ken Dilanian lauds the ‘fascinating” Intel Wars: The Secret History of the Fight Against Terror. (Philadelphia Inquirer)

Kenneth Turan comes away impressed with PD James’ Death Comes to Pemberley. (LATimes)

Andy Beckett discovers an “admirable analysis of recent global protests” in Paul Mason’s Why It’s Kicking Off Everywhere: The New Global Revolutions. (The Guardian)

Crime fiction fan? Get the critical response to a new batch of crime novels. (The Telegraph)

Pagan Kennedy swoons over William Gibson, whose “writing enters the bloodstream like a drug, producing a mild hallucinogenic effect that lasts for hours” in the essay collection, Distrust That Particular Flavor. (NYTimes)

Reviewer Stephan Lee finds “proof of the author’s intelligence, wit, and insight” in Stephen Fry’s The Fry Chronicles. (Entertainment Weekly)

Dante Chinni is impressed with some of the points in Thomas Frank’s Pity the Billionaire, saying that, at its best, it offers “”answers and humor to disillusioned MSNBC evening talk viewers” but that, at its worse, “it is simply a left-wing version of the hyperbole liberals say they hate when it comes from the right.” (Chicago Sun-Times)

Colin Grant offers an insightful look at the mystical side of Bob Marley, Peter Tosh and the Bunny Wailers in I & I: The Natural Mystics. (The Independent)

David L Ulin has mixed feelings about Shalom Auslander’s debut novel, Hope, noting that it is “angry, funny, shocking, but in the end, it never fully resonates.” (LATimes)

Michiko Kakutani peruses a “daring and remarkable novel” set against the oppressive backdrop of North Korea in Adam Johnson’s The Orphan Master’s Son. (NYTimes)

Bob Minzesheimer gives Jodi Kantor’s The Obamas three-and-a-half stars. (USAToday)

Terry Eagleton says that what Alain de Botton’s Religion for Atheists does is “is hijack other people’s beliefs, empty them of content and redeploy them in the name of moral order, social consensus and aesthetic pleasure.” And that’s the nice part of the review. (The Guardian)

Dinesh Ramde finds Lunatics, by Dave Barry and Alan Zeibel, “creative, unusual and over the top.” (Chicago Sun-Times)

David Peak takes on the monumentally challenging task of reviewing a book of poems written in Russian, Novaya Yunost’s A Fire-Proof Box. (The Rumpus)

Lionel Shriver comes away unimpressed with Miranda July’s It Chooses You, which “interweaves memoir with cameos of strangers she sought out while struggling to finish the script of her second film.” (Financial Times)

Catherine Taylor discovers a “self-denying yet resonant work” in Samantha Harvey’s “troubling second novel of a modern-day Socrates,” All is Song. (The Telegraph)

Ben Ratliff takes trip in the wayback machine in Ed Sanders’ FUG YOU: An Informal History of the Peace Eye Bookstore, the Fuck You Press, the Fugs, and Counterculture in the Lower East Side. (NYTimes)