by Daniel Green

Anatomy of Thought-Fiction: CHS Report 2214 – Joanna Demers

The line between fiction and nonfiction, the creative and the critical, may have by now become blurrier and blurrier, but perhaps there is after all a point where to call an act of writing “fiction” only obscures that work’s actual achievement

The Fabrications – Baret Magarian

By employing the omniscient method, Magarian is almost necessarily ruling out the kind of detailed probing of his characters’ psychological states we have perhaps come to expect in fiction.

The Kingdom of the Young – Edie Meidav

Although Meidav’s writing is lucid and subtly evocative, it really makes no effort to be “lyrical” or “rhapsodic.”

Late Stories – Stephen Dixon

Through Dixon’s work we come to recognize what is most “real” about human experience: the effort to understand it.

Natural Wonders – Angela Woodward

This novel could without serious distortion be called a love story, albeit more about the natural wonder of its absence than its presence.

Silence and Song – Melanie Rae Thon

Silence and Song is Thon’s most radical experiment in form and lyrical expression.

Book of Numbers – Joshua Cohen

The reader is put in the same position toward the novel’s depicted world as the protagonist is toward his own life, alienated as he is from his marriage and his career.

I, Bartleby – Meredith Quartermain

I, Bartleby is reluctant to provide those markers we most associate with “short stories.”

Satin Island – Tom McCarthy

Tom McCarthy’s fiction quite palpably poses a challenge to entrenched reading habits and subverts conventional literary practice.

The Laughing Monsters – Denis Johnson

Johnson seems content to produce an entertainment of the kind Graham Greene claimed to periodically write, a novel that engages the author’s characteristic themes, but in a manner that seems safely familiar.