by Nathan Weatherford

The Bone Clocks – David Mitchell


What I had thought was going to be a fairly standard teenage narrative was obviously going somewhere else entirely.

Silence Once Begun – Jesse Ball


Essentially, Ball poses the question: “Can any of us can truly know ourselves, let alone the others around us?”

Hill WIlliam – Scott McClanahan


An attempt to physically break the memories out from the lockbox in his head, pain be damned.

Reading at Record Speeds


Having outside information easily available means I’m going to reference it, which in turn means I’m interrupting the actual text of the novel regularly to seek out more information on that text…which sounds suspiciously similar to the way I read news articles and blogs on the internet.

Duplex – Kathryn Davis


Davis’s sentences channel that half-state between consciousness and unconsciousness, that foggy place where you realize you’re waking up but are still enraptured by the vivid imagery that’s been parading through your head all night.

Watch The Thrones


Lord of the Rings allows me to escape my limited perspective for another world; A Song of Ice and Fire forces me to be acutely aware of that limited perspective, and to evaluate it in relation to the world around me.

Scott McClanahan


It’s that weird ghost of electricity in the faces of the people you love.

Unknowable Quantities


Where much of the horror genre frantically casts a flashlight around the area between the known and the unknown, Brian Evenson’s stories are more concerned with the knowable and the unknowable. They wonder why you’re even bothering with that flashlight.

Love Among the Particles – Norman Lock


Calling attention to the artificiality of his creation gives Lock (and us) the chance to consider what actually determines the “real.”