Holt House – L. G. Vey; A Dedicated Friend – Shirley Longford; Judderman – D. A. Northwood
Simply, the question of Dead Ink horror is about that which haunts us and why it haunts us.
When the ranks of climate refugees grow steadily, new ways of structuring our lives will have to be tested.
A detective story that ends with “[NO END]” may scarcely be called a detective story.
99 Theses on the Revaluation of Value — Brian Massumi
Post-capitalist thinking here is not a navel-gazing exercise in utopian fabulation, but a very direct imperative to think through capitalist value-structures.
Crosslight for Youngbird – Asiya Wadud
Wadud’s poems of witness are far less remote than one might expect of an often commemorative tradition, underwritten by a deep physical sympathy.
Read in the broadest terms, in the context of literary modernism, INTIMATE TIES seems especially concerned with the psyche, sexuality, and repression.
Nothing but the Night – John Williams
The last of Williams’s novels to be reissued, 1948’s NOTHING BUT THE NIGHT now marks the inevitable death knell of the Williams literary revival.
All My Goodbyes – Mariana Dimópulos
Dimópulos works directly against one of the age-old creative writing workshop adages: don’t lose your reader in time.
I’m Open to Anything – William E. Jones
The book, both in its physicality and content, poses a challenge not to conservative forces who would immediately shut it down, but rather to progressive and “open-minded” people who support queer writing — but only if it’s “literary” and respectable.
A Delicate Aggression – David O. Dowling
Dowling is uncritical and unsentimental in his portrayal of the mfa as the death-knell of creative solitude, spontaneous community-making, and writing for writing’s sake.