Powers's

The Mississippi River has been fortunate in its chroniclers: Mark Twain's "Life on the Mississippi," Ron Powers's "White Town Drowsing" (about Hannibal, Mo., the town where Twain grew up) and John Barry's "Rising Tide" (about flooding on the Lower Mississippi in the early 20th century) are just three among many fine books on what T.S. Eliot called the "strong brown god."

Lee Sandlin's "Wicked River: The Mississippi," reviewed by Dennis Drabelle Post 2010

Katherine Powers's Boston Globe review notes specific lapses in both the annotated editions.

Onion Sauce! Onion Sauce! 2009

Presumably Caldwell has in mind here not just "novels within novels," but multiple narratives of all kinds, from, say, the twinned narratives in most of Richard Powers's novels to something like the exfoliating narratives of a novel like One Hundred Years of Solitude, stories that require the reader to track their various "narrative shifts."

Narrative Strategies 2009

The Mississippi River has been fortunate in its chroniclers: Mark Twain's "Life on the Mississippi," Ron Powers's "White Town Drowsing" (about Hannibal, Mo., the town where Twain grew up) and John Barry's "Rising Tide" (about flooding on the Lower Mississippi in the early 20th century) are just three among many fine books on what T.S. Eliot called the "strong brown god."

Lee Sandlin's "Wicked River: The Mississippi," reviewed by Dennis Drabelle Post 2010

And with all due respect, to read Russo in an effort to unravel soap opera elements is as misguided as James Wood making the charge that all of Richard Powers's novels contain a boy-meet-girl subplot.

Deep-Hearted 2010

However, in looking at the most recent issue of Critique: Studies in Contemporary Fiction (a publication to which I still subscribe and have myself contributed), one quickly comes upon a passage like this, from an essay on Richard Powers's The Gold Bug Variations: Across the various epistemic systems of encyclopedic information, diachronic narrative processes self-organize reactions and catalyze reciprocal, feedback relations across the textual network.

Literary Study 2009

In explaining why he did not finish Richard Powers's The Echo Maker, Patrick at Litblog. com (no permalink available; scroll down to Jan. 18) writes of Powers's "inability to sympathetically portray characters whose mindsets are very different from his own."

Point of View in Fiction 2009

I have to think that Patrick's response to Powers's mode of narration flows from one of two unexamined assumptions about third-person narrators.

Point of View in Fiction 2009

Getting together a reprint of J.F. Powers's novel Wheat That Springeth Green, we were struck by the beauty of its epigraph (which appears in the form of sheet music, taken from The Oxford Book of Carols).

Connections 2010

In its fusion of fact and fantasy, "The Edinburgh Dead" offers the same sort of pleasures as Tim Powers's "The Anubis Gates" 1985, in which we learned that Samuel Coleridge's poetic reveries were true visions of a real place—he was just too stupefied by opium to notice.

By Gaslight, Hunting The Undead Tom Shippey 2011