by Eleanor Gold

Cinema in the Digital Age – Nicholas Rombes

I associate theaters less with the quiet company of unknown others, and more with the annoyance of an introvert forced to enjoy herself in public.

Missives from the Green Campaign – David Armstrong

We exchange small gods for growing things, and are content.

The Vine That Ate the South – J.D. Wilkes

THE VINE THAT ATE THE SOUTH is more conversion narrative than odyssey, and more tall tale than either, filled with a twisty, tongue-in-cheek lyricism that calls to mind a Weird Twain.

Powers of Darkness – Bram Stoker & Valdimar Ásmundsson

MAKT MYRKRANNA is not precisely a translation of Dracula; or at least, it’s not what could be termed a good translation of Dracula.

Moshi Moshi – Banana Yoshimoto

Grief is a full-body experience, but so too is joy.

The Xenotext: Book 1 – Christian Bök

The Xenotext feels like nothing so much as high-tech genetic graffiti: “Christian wuz here” in microbial verse.

Three Moments of an Explosion – China Miéville

Miéville has always been interested in more than simply making us shiver.

The Vorrh – Brian Catling

Dreamlike and horrifying, The Vorrh is permeated with an ominous power.

Haints Stay – Colin Winnette

Haints Stay is dark, and bloody, and violent: raw and cutthroat and still capable of reducing you to helpless snickers.

The Guild of Saint Cooper – Shya Scanlon

The Guild of Saint Cooper feels less like Twin Peaks fanfiction than a novel written for an audience that will understand the joke.