by Sharanya

Gifted — Suzumi Suzuki

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At times, it reads like a breathless impatience for the release of an orgasm: “Upon hearing the longed-for sound of the door after heaving my weight against it, I quickly put the key I’m already holding into the lock of my apartment and turn it, and once this second anticipated sound has been confirmed, I slip inside the door.”

There’s a Disco Ball Between Us – Jafari S. Allen

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Lyrical, genre-bending writing, which undoes, unstitches, and shakes off normative ideas about how Black/gay life is conceived and lived

To Write as if Already Dead – Kate Zambreno

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The forms Zambreno adopts are responses to the questions being posed.

An Apprenticeship or the Book of Pleasures – Clarice Lispector

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Lispector’s fiction pushes us to become apprentices of language itself, to find pleasure in the cadences of subjectivity, and to seek out how our articulations of desire and pain weave our reality.

W-3 – Bette Howland

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The radicality of W-3 lies there: it is imaginative, as a form, because it is a narrative about the banal, moving contradictions of people who experience madness.

The Distance – Ivan Vladislavić

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His interest in the potential of the fragment as a form of fiction that bears witness to political truth, is ever yielding.