In Wayde Compton’s The Outer Harbour, a series of short stories take the reader from the present day to 2025, exploring a near-future Vancouver in which things grow steadily more surreal. As Emily Oppenheimer writes, it’s clearly a work of speculative fiction, yet the setting resembles our own world in uncanny ways. Sample quote: “Compton achieves the more troubling, yet ultimately more satisfying, goal of portraying the fantastical as something that is very much rooted in what we think we already know about ourselves and our world.”
Owing to a successful Facebook campaign and some outcries from the Press’s authors, University of Missouri administrators have decided to reinstate the University of Missouri Press—which was recently shuttered—and “rehire” its editor in chief, Clair Wilcox. The goal now, according to the university system’s president, is to “reinvent [the press] in a more cost-effective technological model.”
In the annals of Southern literature, Elizabeth Spencer isn’t as well-known as Faulkner or Flannery O’Connor, but she is, Wilton Barnhardt writes, “one of America’s best short-story writers.” The 92-year-old author’s new collection marks “65 years and counting of superb writing,” he argues.
Carl Wilson, author of Let’s Talk About Love: A Journey to the end of Taste (a book length study of Celine Dion‘s megablockbusting album of the same name), revisits the enduring and sort of nauseating classic from Titanic‘s soundtrack in The Atlantic.
“I have a girl brain but in a boy body. This is called transgender. I was born this way!” The Los Angeles Times reports on an elementary-school teacher reading I Am Jazz, written by transgender teenager Jazz Jennings, with her class; encouragingly, not that many parents freak out. Pair with writer T.K. Dalton reflecting on how to traverse the terrain of books, children, and gender.
Novels that focus on obsessive characters hinge on persnickety details. The need to depict accurately the mind of an obsessive demands that the novelist overemphasize the trifling and tangential. In The Kenyon Review, Vanessa Blakeslee reviews a new and representative example of the form, The Understory by Pamela Erens. Sample quote: “When the smaller steps of daily life are magnified, does that narrative reach its greatest potential for a unified and powerful resonance?” FYI, Erens has written for us.