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As part of a special interview with ABC's 20/20, Amanda Berry, 33, Gina DeJesus, 29, and Michelle Knight, 38, opened up about their years in captivity - which saw Castro try and create a deep jealousy between his captives.

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I think, however, that the deeper preoccupation with death in mywork is neither philosophical nor scriptorial. I carry the girl of sorrow. Asun triste, it is difficult not to read the world in terms of despondency.Despite my toying, my ironies and parodies, the demonic function of writingis, in the end, a measure of death, of its finitude. In many ways writing isa folly which hopes to be discovered for its laughable heroics. Imagine: aflapping tongue to ward off eternity--yet, brief though its music is, itmanages to take wing and liberate the mind and heart again and again.

BC: I don't think Drift tried to invert the trope. Certainlynot with the instrument of the cancerous imperial mothers. The noveldemonstrates the continuing nineteenth-century fixation upon motherlands andthe damage they do to those who violate the matrix of the rhetoric of loveand land--as distinct from patriotism, which is all silent devotion. Noticehow the national rhetoric is redefined under pressure of indictments ofracism and extremism: Pauline Hanson describes herself as `the mother of allAustralians'. But motherhood is no longer immune from nationalist andracist agendas. Its ties of wombs and blood are made even stronger becausehaving shifted the emphasis of docility and pacifism from itself, motherhoodtakes on a cultural and familial inflection whose appeal to the origins andthe hearth extorts symbolic (foetal) dependence and trust. It is more correctand manageable than Oedipalised conflict and jealousy. The great mother, themagna mater, is the apocalypse upon which devoted sons feed. That's whyCamus' L'etranger was so shocking for contemporary readers and atthe same time so understandable, when his character could not feel remorsefor his mother's death. Mother-worshippers would have hated it, as theywould have hated Drift.

In so doing, he lays bare a blithely dark yet accepting perspective of of the human soul. We are evil, Wallace is saying, but he's saying it in occasionally engaging and amusing narratives (and more often in the most thorough and most tortuous of expositions). It's not all bad -- not at all. The four "Brief Interviews" sections are among the best, as the twisted psyches they lay bare in one-sided interview formats are alternately disturbing and idiotic, but always experienced with the buffer of the unheard interviewer. There are stories in "Forever Overhead," "Signifying Nothing," and "Church Not Made With Hands" that are sad and beautiful and unquestionably engaging. There is brilliant circular logical play in "Octet." And time and again, there is the all-too-accurate mirror, simply held up by the author, that forces a reader to see in him or herself all the seemingly aberrant but undeniably normal human qualities that warrant disgust and loathing. Especially so is "On His Deathbed, Holding Your Hand, the Acclaimed New Young Off-Broadway Playwright's Father Begs a Boon." It is a father's confession, as he lays dying in a less-than-dignified manner, of his undying hatred for his son. His words magnify the fraudulence and jealousy and self-serving manipulations common to characters throughout the book in an unflinchingly honest and candid monologue so comprehensive that no one is safe from a glimpse into the glass. If the inflated redundancy of writerly masturbations like "The Depressed Person" and "Tri-Stan: I Sold Sissee Nar to Ecko" don't chase you off screaming, Brief Interviews will offer many brief intervals of enlightening, though possibly depressing, intellectual engagement. --Christopher Hess

The Orpheus and Eurydice figures in Rushdie's work are presented as Ormus Cama and Vina Apsara, a couple of star-crossed rock stars whose lives lead the narrative from India to Great Britain and back around to New York. The more readable of the two characters is Vina, a goddess of sex and commerce who has retuned history with her voice to conquer a world that is "both divided and enthralled, many desiring her greatly, some affecting to find her whorish and repulsive; many loving her for her music, others hating her for the same reason." Cama, her lover and partner in the rock bank VTO, is said to have been born playing air guitar and wiggling his fingers in complicated chord progressions. He hears "Heartbreak Hotel" and other rock & roll classics in his mind before they are ever recorded, as his dead brother whistles the tunes from beyond. He is, ostensibly, the secret and mythical father of rock. When Vina is swallowed by an earthquake in Mexico, the story of her life opens itself up for the telling. 2351a5e196