Described as “a 21st-century Virginia Woolf” in the Literary Review (UK), Man Booker-longlisted author Siri Hustvedt displays her expansive intellect and interdisciplinary knowledge in this collection that moves effortlessly between stories of her mother, grandmother and daughter to artistic mothers, Jane Austen, Emily Brontë and Lousie Bourgeois, to the broader meanings of maternal in a culture shaped by misogyny and fantasies of paternal authority. MOTHERS, FATHERS, AND OTHERS is a polymath’s journey into urgent questions about familial love and hate, human prejudice and cruelty, and the transformative power of art.

A young woman, S.H., moves to New York City in 1978 to look for adventure and write her first novel, but finds herself distracted by her mysterious neighbor, Lucy Brite. As S.H. listens to Lucy through the thin walls of her dilapidated building, she carefully transcribes the woman’s bizarre monologues about her daughter’s violent death and her need to punish the killer. Forty years later, S.H. stumbles upon the journal she kept that year and writes a memoir, Memories of the Future, in which she juxtaposes the notebook’s texts, drafts from her unfinished comic novel, and her commentaries on them to create a dialogue among selves over the decades. As the book unfolds, you witness S.H. write her way through vengeance and into freedom.

Siri Hustvedt has always been fascinated by biology and how human perception works. She is a lover of art, the humanities and the sciences. She is a novelist and a feminist. Her lively, lucid essays in A WOMAN LOOKING AT MEN LOOKING AT WOMEN begin to make some sense of those plural perspectives. There has been much talk about building a beautiful bridge across the chasm that separates the sciences and the humanities. At the moment, we have only a wobbly walkway, but Hustvedt is encouraged by the travelers making their way across it in both directions.

After years of watching her work ignored or dismissed by critics, artist Harriet Burden conducts an experiment she calls Maskings: she presents her own art behind three male masks, concealing her female identity. When Burden finally steps forward triumphantly to reveal herself as the artist behind the exhibitions, there are critics who doubt her. The public scandal turns on the final exhibition, initially shown as the work of acclaimed artist Rune, who denies Burden’s role in its creation.

LIVING, THINKING, LOOKING brings together 32 essays written between 2006 and 2011, in which Siri Hustvedt culls insights from philosophy, neuroscience, psychology, psychoanalysis and literature. The book is divided into three sections: the essays in Living draw directly from Hustvedt’s life; those in Thinking explore memory, emotion and the imagination; and the pieces in Looking are about visual art.