To Write as if Already Dead – Kate Zambreno
The forms Zambreno adopts are responses to the questions being posed.
If the abandoned luxury hotel is now occupied by poor, disenfranchised bodies, it could be said that Sebastián’s (and in turn, Julián’s) writing is occupied by their narratives.
Isn’t a life sentence without parole like a wrong word in a sentence that is impossible to correct, condemned to exist outside of grammar and syntax?
A Forest on Many Stems: Essays on the Poet’s Novel – ed. Laynie Browne
A collection that will be a valuable light for writers who want to explore the worlds and works of their literary ancestors, particularly those who refused to settle for a culture and a form that didn’t satisfy their needs and desires.
Takeaway: Black Death Edition – Tommy Hazard
“If you were to take eighty pages and divide them with comedic spleen, which is equaled only by brutality, and one grand finale of etheric transcendence to boot . . . you’d have Tommy Hazard’s story collection, TAKEAWAY.”
Meter-Wide Button – Lillian Paige Walton
Walton joins the ranks of other contemporary writers toying with surrealism, turning it anew.
The cascading, scattered quality of the novel imitates the patterns of actual thought.
Under the Wave at Waimea – Paul Theroux
If more readers both learned and otherwise knew how to take his imagination’s curious, off-kilter offerings, Paul Theroux’s name would be higher on that ranking’s leader board than it currently is.
There is something anti-story in every story, where the force pushing towards narrative resolution is challenged by a slightly ethereal centrifugal drift which slows, and maybe even reverses, that centripetal approach.
Arborescent – Marc Herman Lynch
Marc Herman Lynch’s ARBORESCENT luxuriates in the space between the familiar and the fantastic, dipping into both ends of the spectrum to paint a richly layered contemporary folk tale.
Isn’t a life sentence without parole like a wrong word in a sentence that is impossible to correct, condemned to exist outside of grammar and syntax?
There is something anti-story in every story, where the force pushing towards narrative resolution is challenged by a slightly ethereal centrifugal drift which slows, and maybe even reverses, that centripetal approach.
If the abandoned luxury hotel is now occupied by poor, disenfranchised bodies, it could be said that Sebastián’s (and in turn, Julián’s) writing is occupied by their narratives.
The cascading, scattered quality of the novel imitates the patterns of actual thought.