Code of the West – Sahar Mustafah
Here are two representations of the country: One insisting unimaginatively as to what it takes to obliterate the nuances of social difference with blunt force, and the other just trying to get by.
Autopsy of a Father – Pascale Kramer
What Kramer depicts is the resulting virus of hate that infects not only victims and the oppressed, but perpetrators, the oppressors, and their families.
Odd Jobs and District – Tony Duvert
Duvert creates a world in which economic necessity and the demands of labor produce desire and sexuality — in other words, a world quite similar to our own.
Performative writing promises no buttoned-up endings, no achievement of perfection. It refutes the notion of a progression, of a moving forward, the reaching of a completed end-point.
The Easy Body – Tatiana Luboviski-Acosta
This is a long love letter to hell, but to call it epic would oppress its very form.
Being Here is Everything – Marie Darrieussecq
How can a biography of any woman not be about her sad fucking life?
At some point in your life, something will fall in front of your feet that you did not expect. There’s a challenge that MAMMOTHER offers the reader: to believe, simply, in what you are about to read, and then to risk reading it.
Worlds from the Word’s End — Joanna Walsh
In stories such as these, Walsh relies more heavily on continuous narrative than in VERTIGO, but still underscores what is not revealed, what acquires meaning only when unspoken.
Things to Do When You’re Goth in the Country & Other Stories — Chavisa Woods
“The country” has always held a dominant place in the stories that America tells about itself, imbued with popular understandings of national identity, character, and history.
The Resurrection of Joan Ashby – Cherise Wolas
Through Joan’s writings we see what Joan refuses to — that she has not and cannot inoculate her writing from her life; that her art and her life are symbiotic.