Though Kono is absorbed with domestic life, she pushes the conventional limits of realism by exposing the ways in which the rules of domesticity are artificial, provisional, or self-imposed.

Rather than some romantic communion of artist, art, and place, this memoir is a record of all the noise that overwhelms the blank-page silence, in which we find artist, art, and place at odds.

One of many finely crafted aspects of this novella is its hazy yet undeniable locatedness. While not emblematic of Los Angeles, DEATH AND OTHER HOLIDAYS embeds itself deeply in Los Angeles throughout.

The year’s best forthcoming books, as selected by the editors of Full Stop.

Though Kono is absorbed with domestic life, she pushes the conventional limits of realism by exposing the ways in which the rules of domesticity are artificial, provisional, or self-imposed.

Rather than some romantic communion of artist, art, and place, this memoir is a record of all the noise that overwhelms the blank-page silence, in which we find artist, art, and place at odds.

One of many finely crafted aspects of this novella is its hazy yet undeniable locatedness. While not emblematic of Los Angeles, DEATH AND OTHER HOLIDAYS embeds itself deeply in Los Angeles throughout.

The collection conveys a profound honesty about female sexuality that goes beyond a simple defense of sexual freedom to expose the complexities of desire, the body, and psychology.

“The daydream emerged as such an unbidden gift.”

In life, like love, or the shape of a story itself, time is fast and slow at once, compressed and expanded; it is never as simple or singular as a minute is long.

I do sometimes feel that reading and writing is a way of preparing oneself [for death], as much as a person can be prepared.

It’s fun to see people talk about revolution seriously, because they can’t imagine anything else anymore and it’s starting to enter the consciousness.

There is a direct link between listening and life, perceivable in its absence. What we cannot say and what we cannot hear matter.

It’s too easy to write Kenny Dennis off as just a joke. While there are aspects of Kenny that seem wholly ridiculous, Cohn makes his story expansive and dark, and he settles on an exuberance that overcomes Kenny’s struggle.

I like the fact that you can see error moments that have been used to do something and, also, that there are other latent, inelegant bits that could be resolved differently. I like having both—utilised errors and potentially resolvable parts that nonetheless remain uncoopted.

“The daydream emerged as such an unbidden gift.”

The year’s best forthcoming books, as selected by the editors of Full Stop.

[These pieces] demonstrate what book critics can learn from acts of creative reading, finding in them an image of criticism as creative practice.

The visa, like the song, will end, and I’ll be swept back into regular-time.

Shall we take dust as the founding metaphor by which to broach the unruly topic of the essay?