Tropisms (New Directions Pearls)

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January Pure Wit by Francesca Peacock [NF] I first learned about the life and work of seventeenth-century writer and philosopher Margaret Cavendish in Regan Penaluna's stellar study of women thinkers, and I've been dying to read a biography of Cavendish ever since. And I'm in luck (all of us are) thanks to biographer Peacock. A proto-feminist, science-fiction pioneer, and divisive public figure, Cavendish is endlessly fascinating, and Peacock's debut gives her the rigorous, in-depth treatment that she deserves. —Sophia M. Stewart Nonfiction by Julie Myerson [F] A blurb from Rachel Cusk is just about all it takes to get me excited about a book, so when I saw that Cusk called Myerson's latest novel "glitteringly painful," "steady and clear," and "the book [Myerson] was intended to write," I was sold. A tale of art, addiction, and the ties that bind mothers and daughters, Nonfiction promises to devastate. —SMS Immediacy by Anna Kornbluh [NF] Did the pandemic kill postmodernism? And what comes after the end of history? University of Illinois–Chicago professor Kornbluh dubs our contemporary style “immediacy,” characterized by same-day delivery, bingeable multimedia, and real-time news updates that spin the economic flywheel ever faster. Kornbluh names this state of emergence and emergency, and suggests potential off-ramps in the direction of calm reflection, measured art-making, and, just maybe, collective wisdom. —Nathalie op de Beeck Slow Down by Kōhei Saitō, tr. Brian Bergstrom [NF] In this internationally-bestselling treatise, Japanese philosopher Saitō argues against "sustainable growth" in favor of degrowth—the slowing of economic activity—which he sees at the only way to address the twinned crises of inequality and climate change. Saitō's proposal is simple, salient, and adapts Marx for the modern day. —SMS Relic by Ed Simon [NF] From Millions alum Simon comes a slim study of the objects we imbue with religious (or quasi-religious) meaning, from the bone of a Catholic martyr to Jimi Hendrix's guitar pick. Bloomsbury's Object Lessons series never misses, and Relic is one of the series' most unconventional—and compelling—entries yet. —SMS Filterworld by Kyle Chayka [NF] The outline of reality has become increasingly blurry as the real world melds with the digital one, becoming what Chayka, staff writer at the New Yorker, calls “Filterworld,” a society built on a foundation of ever-evolving algorithms. In his book of the same name, Chayka calls out the all-powerful algorithm, which he argues is the driving force behind current and accelerating trends in art, consumption, and ethics. —Daniella Fishman Portrait of a Body by Julie Delporte, tr. Helge Dascher and Karen Houle [NF] A gripping narrative of coming to terms with her queer identity, Canadian cartoonist Delporte's latest graphic memoir—praised by Eileen Myles and Fariha Róisín—sees Delporte learning to embrace herself in both physical and metaphysical ways. Dreamy colored pencil illustrations and gently flowing storytelling capture the beauty, trauma, and ultimate tranquility that comes with learning to exist on your own terms. —DF Beautyland by Marie-Helene Bertino [F] In Bertino’s latest novel, following 2020's Parakeet, the launch of Voyager 1 into space coincides with the birth of Adina Giorno, who, much like the solitary satellite, is in search of something she can't yet see. As a child, she senses that she is not of this world and struggles to make a life for herself amid the drudgery of human existence. Playing on Adina's alienness as both a metaphor and a reality, Bertino asks, “Are we really alone?” —DF The Last Fire Season by Manjula Martin [NF] Martin returns ablaze in her latest memoir, pitched as "H Is for Hawk meets Joan Didion in the Pyrocene." Following an anguishing chronic pain diagnosis, Martin attempts to reconnect with her beloved Northern California wilderness in order to escape not only her deteriorating health but a deteriorating world, which has ignited around her in the worst fire season California has ever seen. Devastating and ambivalent, The Last Fire Season tries to sift through the ashes of climate change. —DF The Furies by Elizabeth Flock [NF] Violence by women—its role, its potential righteousness—is the focus of Flock's latest. Following the real-life cases of a young rape survivor in Alabama, a predator-punishing gang leader in India, and an anti-ISIS militia fighter in Syria, Flock considers how women have used lethal force as a means to power, safety, and freedom amid misogynistic threats and oppression. Is violence ever the answer? Flock looks to three parallel lives for guidance. —SMS Imagining the Method by Justin Owen Rawlins [NF] University of Tulsa professor Rawlins demystifies that most celebrated (and controversial) acting school, challenging our contemporary conceptions of screen performance. I was sold the moment I saw Rawlins received the ultimate stamp of approval from Isaac Butler, author of the definitive account of method acting: "If you care about the evolution of twentieth-century screen performance, you should read this book." —SMS We Are Free to Change the World by Lyndsey Stonebridge [NF] Famed twentieth-century philosopher and political theorist Hannah Arendt wrote passionately about power, freedom, and inequality against the backdrop of fascism—a project as relevant today as it ever was. Stonebridge, a professor of humanities and human rights, revisits the lessons of Arendt's writings and applies them to the twenty-first century, creating a dialogue between past, present, and future. —DF Walter Benjamin Stares at the Sea by C.D. Rose [F] In these 19 short stories, Rose meditates on philosophy, photography, and literature. Blending erudition and entertainment, Rose's fables follow writers, teachers, and artists through various situations—and in a standout story, imagines how St. Augustine would fare on Twitter. —DF Black Women Taught Us by Jenn M. Jackson [NF] Jackson's debut book foregrounds the work of Black feminist writers and leaders—from Ida B. Wells and Harriet Jacobs to Shirley Chisholm and bell hooks—throughout American history, revealing the centuries-long role that Black women have played in imagining and fighting for a more just society. Imani Perry calls Jackson "a beautiful writer and excellent scholar." —SMS The Bullet Swallower by Elizabeth Gonzalez James [F] Pitched as Cormac McCarthy meets Gabriel García Márquez (yeesh!), The Bullet Swallower is the second novel (after Mona at Sea) from Elizabeth Gonzalez James, who also wrote the weird and wonderful essay/play Five Conversations About Peter Sellers. Infusing the spaghetti western with magical realism, the novel follows a Mexican bandito on a cosmic journey generations in the making. —SMS Last Acts by Alexander Sammartino [F] In Sammartino's debut novel, the owner of a gun store hatches a plan to resurrect his struggling business following his son's near-death experience. George Saunders, Mary Karr, and Nana Kwame Adjei-Brenyah have all heaped on praise, and Jenny Offill finds it "hard to believe Last Acts is a first novel." —SMS I Sing to Use the Waiting by Zachary Pace [NF] Pace fuses memoir and criticism (my favorite combination) to explore the emotional and cultural impacts of women singers across time, from Cat Power and Rihanna to Kim Gordon and Whitney Houston. A queer coming-of-age story that centers the power of music and the legacies of women artists. —SMS Dead in Long Beach, California by Venita Blackburn [F] Blackburn, the author of the stellar story collections Black Jesus and Other Superheroes and How to Wrestle a Girl, delivers a debut novel about storytelling and unreality, centering on a successful novelist who gets hold of her dead brother's phone—and starts answering texts as him. Kristen Arnett calls this one "a bonafide knockout" that "rewired my brain." —SMS Everyone Who Is Gone Is Here by Jonathan Blitzer [N] New Yorker staff writer Blitzer traces the harrowing history of the humanitarian crisis at the U.S.-Mexico border, foregrounding the stories of Central American migrants whose lives have been threatened and upended by political tumult. A nuanced, layered, and rigorously reported portrait that Patrick Radden Keefe hails as "extraordinary." —SMS The Survivors of the Clotilda by Hannah Durkin [NF] Durkin, a British historian, explores the lives of 103 Africans who were kidnapped and transported on the last slave ship to dock in the U.S., shortly before the Civil War began in 1861. Many of these captives were children, and thus lived their lives against a dramatic backdrop, from the Civil War all the way up to the dawn of the Civil Rights movement. What these people experienced and how they prevailed should intrigue anybody interested in learning more about our nation’s darkest chapter. —Claire Kirch Your Utopia by Bora Chung, tr. Anton Hur [F] Following her acclaimed sophomore novel The Cursed Bunny, Chung returns with more tales from the realm of the uncanny. Covering everything from unruly AI to the quest for immortality to the environmental destruction caused by capitalism, Chung’s story collection promises more of the mystifying, horror-filled goodness that has become her calling card. —DF The Rebel's Clinic by Adam Shatz [NF] Frantz Fanon—political philosopher, psychiatrist, and author of the trailblazing Black Skin, White Masks and The Wretched of the Earth—is one of the most important writers and thinkers of the postcolonial era, and his work continues to inform contemporary thinking on race, capitalism, and power. In this sprawling biography, Shatz affirms Fanon's place as a towering intellect and groundbreaking activist. —SMS You Dreamed of Empires by Álvaro Enrigue, tr. Natasha Wimmer [F] Enrigue's latest novel, following Sudden Death, reimagines the fateful 1519 invasion of Tenochtitlan (now Mexico City) by Spanish conquistador Hernán Cortés. With exuberant style, and in a lively translation by Wimmer, Enrigue brings the Aztec capital and the emperor Moctezuma to vibrant life—and rewrites their destinies. —SMS February Love Novel by Ivana Sajko, tr. by Mima Simić [F] Croatian literature may lag behind its Russian, Hungarian, Polish, and Ukrainian counterparts—roughly in that order—as far as stateside recognition goes, but we all make mistakes. Just like couples do in love and under capitalism. “A war between kitchen and bedroom,” as the liner notes read, would have been enough to sell me, but that war’s combatants, “an unemployed Dante scholar” and “a passable actress,” really sealed the deal. —John H. Maher The Unforgivable by Cristina Campo, tr. Alex Andriesse [NF] This new NYRB edition, introduced by Kathryn Davis, brings together all of the essays Campo published in her lifetime, plus a selection of additional essays and autofiction. The result is a robust introduction to a stylish—but largely forgotten—Italian writer whose "creativity was a vocation in the truest sense," per Jhumpa Lahiri. —SMS Alphabetical Diaries by Sheila Heti [NF] Last year, I was enraptured by Heti's limited-run New York Times newsletter in which she alphabetized sentences from 10 years' worth of her diary entries—and this year, we can finally enjoy the sublime results of that experiment in book form. This is my favorite work of Heti's, full stop. —SMS Dinner on Monster Island by Tania De Rozario [NF] Blending film criticism, social commentary, and personal narrative, De Rozario (most recently the author of the Lambda Literary Award–nominated And the Walls Came Crumbling Down) explores her experience growing up queer, brown, and fat in Singapore, from suffering through a "gay-exorcism" to finding solace in horror films like Carrie. —SMS Wrong Norma by Anne Carson [NF] Everyone shut up—Anne Carson is speaking! This glistening new collection of drawings and musings from Carson is her first original work since the 2016 poetry collection Float. In Carson's own words, the collection touches on such disparate topics (she stresses they are "not linked") as Joseph Conrad, Roget's Thesaurus, snow, Guantánamo, and "my Dad." —DF Self-Portraits: Stories by Osamu Dazai, tr. Ralph McCarthy [F] Japanese writer Dazai had quite the moment in 2023, and that moment looks likely to continue into the new year. Self-Portraits is a collection of short autofiction in the signature melancholic cadence which so many Anglophone readers have come to love. Meditating on themes of hypocrisy, irony, nihilism—all with a touch of self-deprecating humor—Dazai’s work will either pull you out of a deep depression or crack your rose-colored glasses; there is no in-between. —DF Imagination by Ruha Benjamin [NF] Visionary imagination is essential for justice and a sustainable future, argues Benjamin, a Princeton professor of African American studies and founder of the Ida B. Wells Just Data Lab. In her treatise, she reminds readers of the human capacity for creativity, and she believes failures of imagination that lead to inequity can be remedied. In place of quasi-utopian gambles that widen wealth gaps and prop up the surveillance state, Benjamin recommends dreaming collective and anti-racist social arrangements into being—a message to galvanize readers of adrienne marie brown and Alexis Pauline Gumbs. —SMS Literary Theory for Robots by Dennis Yi Tenen [NF] Artificial intelligence and machine-generated writing are nothing new, and perhaps nothing to fear, argues Tenen, a Columbia English professor and former software engineer. Traveling through time and across the world, Tenen reveals the labor and collaboration behind AI, complicating the knee-jerk (and, frankly, well-founded!) reactions many of us have to programs like ChatGPT. —SMS A Sign of Her Own by Sarah Marsh [F] Alexander Graham Bell is best known as the inventor of the telephone, but what he considered his life's work was the education of deaf children—specifically, the harmful practice of oralism, or the suppression of sign language. Marsh's wonderful debut novel unearths this little-known history and follows a deaf pupil of Bell's as she questions his teachings and reclaims her voice. —SMS Get the Picture by Bianca Bosker [NF] Journalist Bosker, who took readers behind the scenes with oenophiles in her 2017 Cork Dork, turns to avid artists, collectors, and curators for this sensory deep dive. Bosker relies on experiential reporting, and her quest to understand the human passion for visual art finds her apprenticing with creators, schmoozing with galleristas, and minding canonical pieces as a museum guard. —NodB Columbo by Amelie Hastie [NF] Columbo experienced something of a renaissance during the pandemic, with a new generation falling for the rugged, irresistible charms of Peter Falk. Hastie revisits the series, a staple of 70s-era TV, with refreshing rigor and appreciation, tackling questions of stardom, authorship, and the role of television in the process. —SMS Acts of Forgiveness by Maura Cheeks [F] Cheeks's debut novel sounds amazing and so au courant. A woman is elected U.S. president and promises Black Americans that they will receive reparations if they can prove they are descended from slaves. You’d think people would jump on achieving some social justice in the form of cold cash, right? Not Willie Revel’s family, who’d rather she not delve into the family history. This promises to be a provocative read on how the past really isn’t past, no matter how much you run from it. —CK The Sentence by Matthew Baker [F] I minored in Spanish linguistics in college and, as a result, came to love that most useless and rewarding of syntactic exercises, diagramming sentences. So I'm very excited to read Baker's The Sentence, a graphic novel set in an alternate America and comprising single, 6,732-word sentence, diagrammed in full. Syntax wonks, assemble! —SMS Neighbors by Diane Oliver [F] Before her untimely death in 1966 at the age of 22, Oliver wrote stories of race and racism in Jim Crow America characterized by what Dawnie Walton calls "audacity, wit, and wisdom beyond her years." Only four of the 14 stories in Neighbors were published in Oliver's lifetime, and Jamel Brinkley calls the publication of her posthumous debut collection "an important event in African American and American letters." —SMS The Weird Sister Collection by Marisa Crawford [NF] Essayist, poet, and All Our Pretty Songs podcaster Crawford founded the Weird Sister blog in 2014, covering books and pop culture from contemporary young feminists’ and queer perspectives. The now-defunct blog offered literary reviews, Q&As with indie authors, and think pieces on film and music. For this collection, whose foreword comes from Michelle Tea, Crawford gathers favorite pieces from contributors, plus original work with a Weird Sister edge. —NodB Smoke and Ashes by Amitav Ghosh [NF] As research for his Ibis trilogy, Ghosh mapped the opium trade around the world and across centuries. This global and personal history revisits the British Empire’s dependence on Indian opium as a trade good, and how the cultivation of and profits from opium shaped today’s global economy. In his nonfiction The Great Derangement, Ghosh employs personal anecdotes to make sense of larger-scale developments, and Smoke and Ashes promises to connect his own family and identity to today’s corporate, institutional, and environmental realities. —NodB Private Equity by Carrie Sun [NF] In her debut memoir, Sun recounts her time on Wall Street, where she worked as an assistant to a billionaire hedge-fund founder and was forced to rethink everything she thought she knew about work, money, sacrifice, and living a meaningful life. This one sounds like a great read for fans of Anna Wiener's Uncanny Valley (e.g. me). —SMS I Love You So Much It's Killing Us Both by Mariah Stovall [F] When Khaki Oliver receives a letter from her estranged former best friend, she isn’t ready for the onslaught of memories that soon cause her to unravel. A Black Bildungsroman about friendship, fandom, and sanity, I Love You So Much It's Killing Us Both is an unflinching look at "what it means to be young in a hard, and nonetheless beautiful, world," per Vauhini Vara. —Liv Albright Dreaming of Ramadi in Detroit by Aisha Sabatini Sloan [NF] I know from personal experience that anything published by Graywolf Press is going to open my eyes and make me look at the world in a completely different way, so I have high expectations for Sloan’s essays. In this clever collection, a Black creative reflects upon race, art, and pedagogy, and how they relate to one’s life in this crazy country of ours during the time period between the 2016 election and the onset of the pandemic. —CK Language City by Ross Perlin [NF] Perlin travels throughout the most linguistically diverse city on the planet—New York—to chronicle the sounds and speakers of six endangered languages before they die out. A linguist and co-director of the Endangered Language Alliance, Perlin argues for the importance of little-known languages and celebrates the panoply of languages that exists in New York City. —SMS Monkey Grip by Helen Garner [F] A tale as old as time and/or patriarchal sociocultural constructs: a debut novel by a woman is published and the critics don't appreciate it—until later, at least. This proto-autofictional 1977 novel is now considered a classic of Australian "grunge lit," but at the time, it divided critics, probably because it had depictions of drug addiction and sex in it. But Lauren Groff liked it enough to write a foreword, so perhaps the second time really is the charm. —JHM Ours by Phillip B. Williams [F] A conjuror wreaks magical havoc across plantations in antebellum Arkansas and sets up a Brigadoon for the enslaved people she frees before finding that even a mystic haven isn't truly safe from the horrors of the world. What a concept! And a flexible one to boot: if this isn't adapted as a TV series, it would work just as well as an RPG. —JHM Violent Faculties by Charlotte Elsby [F] A philosophy professor influenced by the Marquis de Sade designs a series of experiments to prove its relevance as a discipline, specifically with regard to life and death, a.k.a. Philip Zimbardo (Chopped and Screwed Remix): The Novel. If you ever trusted a philosophy professor with your inner self before—and you probably shouldn't have?—you probably won't after reading this. —JHM American Abductions by Mauro Javier Cárdenas [F] Plagued by data harvesting, constant surveillance, mass deportation, and incarceration, the society at the heart of Cárdenas's new novel is less speculative dystopia than realist reflection. Channeling Philp K. Dick and Samuel Delaney, Cárdenas imagines a society where Latin Americans are systematically expunged. Following the lives of two Columbian-American sisters, one who was deported and one who stayed in the U.S., American Abduction tells a new kind of immigrant story, suffused with mysticism and philosophical rigor. —DF Closures: Heterosexuality and the American Sitcom by Grace Lavery [NF] I took Lavery's class on heterosexuality and sitcoms as an undergrad, and I'm thrilled to see the course's teachings collected in book form. Lavery argues that since its inception the sitcom has depicted heterosexuality as constantly on the verge of collapse, only to be reconstituted at the end of each half-hour episode. A fascinating argument about the cultural project of straightness. —SMS Whiskey Tender by Deborah Taffa [NF] Almost a decade in the making, this memoir from Taffa details generations of Southwest Native history and the legacies of assimilationist efforts. Taffa—a citizen of the Quechan Nation and Laguna Pueblo tribe, and director of the MFA in Creative Writing at the Institute of American Indian Arts—was born on the California Yuma reservation and grew up in Navajo territory in New Mexico in the 1970s and 1980s. She reflects on tribal identity and attitudes toward off-reservation education she learned from her parents’ and grandparents’ fraught formative experiences. —NodB Normal Women by Philippa Gregory [NF] This is exciting news for Anglophiles and history nerds like me: Philippa Gregory is moving from historical fiction (my guilty pleasure) about royal women and aristocrats in medieval and early modern England to focus on the lives of common women during that same time period, as gleaned from the scraps of information on them she has unearthed in various archives. I love history “from the bottom up” that puts women at the center, and Gregory is a compelling storyteller, so my expectations are high. —CK Blue Lard by Vladimir Sorokin, tr. Max Lawton [F] Upon its publication in 1999, Sorokin's sci-fi satire Blue Lard sparked protests across Russia. One aspect of it particularly rankled: the torrid, sexual affair it depicts between Stalin and Khruschev. All to say, the novel is bizarre, biting, and utterly irreverent. Translated into English for the first time by Lawton, Sorokin's masterwork is a must-read for anyone with an iconoclastic streak. —SMS Piglet by Lottie Hazell [F] Hazell's debut novel follows the eponymous Piglet, a successful cookbook editor identified only by her unfortunate childhood nickname, as she rethinks questions of ambition and appetite following her fiancé's betrayal. Per Marlowe Granados, Hazell writes the kind of "prose Nora Ephron would be proud of." —SMS Grief is for People by Sloane Crosley [NF] Crosley enlivens the grief memoir genre with the signature sense of humor that helped put her on the literary map. In Grief Is for People, she eulogizes the quirks and complexities of her friendship with Russell Perreault, former publicity director at Vintage Books, who died by suicide in 2019. Dani Shapiro hails Crosley’s memoir—her first full-length book of nonfiction—as “both a provocation and a balm to the soul.” —LA The Freaks Came Out to Write by Tricia Romano [NF] The freaks came out to write, and you better believe the freaks will come out in droves to read! In this history of the legendary alt-weekly the Village Voice, Romano (a former writer for the Voice) interviews some 200 members the paper’s most esteemed staff and subjects. A sweeping chronicle of the most exciting era in New York City journalism promises to galvanize burgeoning writers in the deflating age of digital media. —DF Burn Book by Kara Swisher [NF] Swisher has been reporting on the tech industry for 30 years, tracing its explosive growth from the dawn of the internet to the advent of AI. She's interviewed every tech titan alive and has chronicled their foibles and failures in excruciating detail. Her new book combines memoir and reportage to tell a comprehensive history of a troubled industry and its shortsighted leaders. —SMS Wandering Stars by Tommy Orange [F] Orange returns with a poignant multi-generational tale that follows the Bear Shield-Red Feather family as they struggle to combat racist violence. Picking up where Orange's hit debut novel, There There, left off, Wandering Stars explores memory, inheritance, and identity through the lens of Native American life and history. Per Louise Erdrich, “No one knows how to express tenderness and yearning like Tommy Orange." —LA March The Hearing Test by Eliza Barry Callahan [F] Callahan's debut novel follows a young artist as she faces sudden hearing loss, forcing to reevaluate her orientation to her senses, her art, and the world around her. Amina Cain, Moyra Davey, and Kate Zambreno are all fans (also a dream blunt rotation), with the latter recommending this one be "read alongside the novels of W.G. Sebald, Rachel Cusk, and Maria Gainza." —SMS The Extinction of Irena Rey by Jennifer Croft [F] When a group of translators arrive at the home of renowned novelist Irena Rey, they expect to get to work translating her latest book—instead, they get caught up in an all-consuming mystery. Irena vanishes shortly after the translators arrive, and as they search for clues to the author's disappearance, the group is swept up by isolation-fueled psychosis and obsession. A “mischievous and intellectually provocative” debut novel, per Megha Majumdar. —LA Thirst by Marina Yuszczuk, tr. Heather Cleary [F] This isn’t your typical meet-cute. When two women—one grieving, the other a vampire, both of them alienated and yearning for more—cross paths in a Buenos Aires cemetery, romance blooms. Channelling Carmen Maria Machado and Anne Rice, Yuszczuk reimagines the vampire novel, with a distinctly Latin American feminist Gothic twist. —LA The Great Divide by Cristina Henríquez [F] I'm a sucker for meticulously researched and well-written historical fiction, and this one—a sweeping story about the interconnected lives of the unsung people who lived and labored at the site of the Panama Canal—fits the bill. I heard Henríquez speak about this novel and her writing processes at a booksellers conference, and, like the 300 booksellers present, was impressed by her presentation and fascinated at the idea of such a sweeping tale set against a backdrop so larger-than-life and dramatic as the construction of the Panama Canal. —CK Bite Your Friends by Fernanda Eberstadt [NF] Melding memoir and history, Eberstadt's Bite Your Friends looks at the lives of saints, philosophers, and artists—including the author and her mother—whose abberant bodies became sites of subversion and rebellion. From Diogenes to Pussy Riot, Eberstadt asks what it means to put our bodies on the line, and how our bodies can liberate us. —SMS Anita de Monte Laughs Last by Xochitl Gonzalez [F] When Raquel Toro, an art history student, stumbles on the story of Anita de Monte, a once prominent artist from the '80s whose mysterious death cut short her meteoric rise, her world is turned upside down. Gonzalez's sophomore novel (after her hit debut Olga Dies Dreaming) toggles between the perspectives of Raquel and Anita (who is based on the late Ana Mendieta) to explore questions of power, justice, race, beauty, and art. Robert Jones, Jr. calls this one "rollicking, melodic, tender, and true—and oh so very wise." —LA My Heavenly Favorite by Lucas Rijneveld, tr. Michele Hutchison [F] Rijneveld, author of the International Booker Prize-winning novel The Discomfort of Evening, returns with a new take on the Lolita story, transpiring between a veterinarian and a farmer's daughter on the verge of adolescence. "This book unsettled me even as it made me laugh and gasp," gushes Brandon Taylor. "I'm in awe." Radiant by Brad Gooch [NF] Lauded biographer Gooch propels us through Keith Haring’s early days as an anonymous sidewalk chalk artist to his ascent as a vigilante muralist, pop-art savant, AIDS activist, and pop-culture icon. Fans of Haring's will not want to miss this definitive account of the artist's life, which Pulitzer-winner biographer Stacy Schiff calls "a keen-eyed, beautifully written biography, atmospheric, exuberant, and as radiant as they come." —DF The Riddles of the Sphinx by Anna Shechtman [NF] Sometimes you encounter a book that seems to have been written specifically for you; this was the feeling I had when I first saw the deal announcement for Shechtman's debut book back in January 2022. A feminist history of the crossword puzzle? Are you kidding me? I'm as passionate a cruciverbalist as I am a feminist, so you can imagine how ravenously I read this book. The Riddles of the Sphinx is one of the best books of 2024, hands down, and I can't wait for everyone else—puzzlers and laymen alike—to fall in love with it too. —SMS The Silver Bone by Andrey Kurkov, tr. Boris Drayluk [F] Kurkov is one of Ukraine's most celebrated novelists, and his latest book is a murder mystery set against the backdrop of WWI-era Kyiv. I'll admit what particularly excites me about The Silver Bone, though, is that it is translated by Dralyuk, who's one of the best literary translators working today (not to mention a superb writer, editor, and poet). In Drayluk's hands, Kurkov's signature humor and sparkling style come alive. —SMS Feeding Ghosts by Tessa Hulls [NF] This multigenerational graphic memoir follows Hull, alongside her mother and grandmother, both of whom hail from China, across time and space as the delicate line between nature and nurture is strained by the forces of trauma, duty, and mental illness. Manjula Martin calls Feeding Ghosts “one of the best stories I’ve read about the tension between family, history, and self.” —DF It Lasts Forever and Then It's Over by Anne de Marcken [F] Haunting prose and a pithy crow guide readers through Marcken's novel of life after death. In a realm between reality and eternity, the undead traverse westward through their end-of-life highlight reel, dissecting memories, feelings, and devotions while slowly coming to terms with what it means to have lived once all that remains is love. Alexandra Kleeman admits that she "was absolute putty in this book's hands." —DF Parasol Against the Axe by Helen Oyeyemi [F] When I visited Prague, a year after the 1989 Velvet Revolution, the Czech capital struck me as a magical place, where anything is possible, and Oyeyemi captures the essence of Prague in Parasol Against the Axe, the story of a woman who attends her estranged friend's bachelorette weekend in the city. A tale in which reality constantly shifts for the characters and there is a thin line between the factual and the imagined in their relationships, this is definitely my kind of a read. —CK Say Hello to My Little Friend by Jennine Capó Crucet [F] Crucet's latest novel centers on a failed Pitbull impersonator who embarks on a quest to turn himself into a modern-day Tony Montana—a quest that leads him to cross paths with Lolita, a captive orca at the Miami Seaquariam. Winking at both Scarface and Moby-Dick, Say Hello to My Little Friend is "a masterclass in pace and precision," per Nana Kwame Adjei-Brenyah. —SMS But the Girl by Jessica Zhan Mei Yu [F] Girl, a Malaysian-Australian who leaves home for the U.K. to study Sylvia Plath and write a postcolonial novel, finds herself unable to shake home—or to figure out what a "postcolonial novel" even is. Blurbs are untrustworthy, but anything blurbed by Brandon Taylor is almost certainly worth checking out. —JHM Wrong Is Not My Name by Erica N. Cardwell [NF] Cardwell blends memoir, criticism, and theory to place her own Künstlerroman in conversation with the work of Black visual artists like Lorna Simpson, Lorraine O'Grady, and Kara Walker. In interconnected essays, Cardwell celebrates the brilliant Black women who use art and storytelling to claim their place in the world. —SMS Great Expectations by Vinson Cunningham [F] A theater critic at the New Yorker, Cunningham is one of my favorite writers working today, so I was thrilled to learn of his debut novel, which cheekily steals its title from the Dickens classic. Following a young Black man as he works on a historic presidential campaign, Great Expectations tackles questions of politics, race, religion, and family with Cunningham's characteristic poise and insight. —SMS The Future of Songwriting by Kristin Hersh [NF] In this slim volume, Throwing Muses frontwoman and singer-songwriter Hersh considers the future of her craft. Talking to friends and colleagues, visiting museums and acupuncturists, Hersh threads together eclectic perspectives on how songs get made and how the music industry can (and should) change. —SMS You Get What You Pay For by Morgan Parker [NF] Parker, a brilliant poet and author of the stellar There Are More Beautiful Things Than Beyonce, debuts as an essayist with this candid, keen-eyed collection about life as a Black woman in America. Casting her gaze both inward and onto popular culture, Parker sees everything and holds back nothing. —SMS Mother Doll by Katya Apekina [F] Following up her debut novel, The Deeper the Water, the Uglier the Fish, Apekina's Mother Doll follows Zhenia, an expectant mother adrift in Los Angeles whose world is rocked by a strange call from a psychic medium with a message from Zhenia's Russian Revolutionary great-grandmother. Elif Batuman calls this one "a rare achivement." —SMS Solidarity by Astra Taylor and Leah Hunt-Hendrix [NF] What does "solidarity" mean in a stratified society and fractured world? Organizers and activists Hunt-Hendrix and Taylor look at the history of the concept—from its origins in Ancient Rome to its invocation during the Black Live Matter movement—to envision a future in which calls for solidarity can produce tangible political change. —SMS The Manicurist's Daughter by Susan Lieu [NF] After her mother, a refugee of the Vietnam war and the owner of two nail salons, dies from a botched cosmetic surgery, Lieu goes looking for answers about her mother's mysterious life and untimely death. Springing from her hit one-woman show 140 LBS: How Beauty Killed My Mother, Lieu's debut memoir explores immigration, beauty, and the American Dream. —SMS Through the Night Like a Snake ed. Sarah Coolidge [F] There's no horror quite like Latin American horror, as any revering reader of Cristina Rivera Garza—is there any other kind?—could tell you. Two Lines Press consistently puts out some of the best literature in translation that one can come by in the U.S., and this story collection looks like another banger. —JHM Headshot by Rita Bullwinkel [F] Bullwinkel's debut collection, Belly Up, was a canful of the uncanny. Her debut novel, on the other hand, sounds gritty and grounded, following the stories of eight teenage girls boxing in a tournament in Reno. Boxing stories often manage to punch above their weight (sorry) in pretty much any medium, even if you're not versed enough in the sport to know how hackneyed and clichéd that previous clause's idiomatic usage was. —JHM Choose This Now by Nicole Haroutunian [F] Haroutunian's novel-in-stories, part of Noemi Press's Prose Series, follows a pair of inseparable friends over the years as they embark on careers, make art, fall in and out of love, and become mothers. Lydia Kiesling calls this one "a sparkling, intimate look at women's lives" that makes "for a lovely reading experience." —SMS Death by Laughter by Maggie Hennefeld [NF] Hennefeld's scholarly study explores the forgotten history and politics of women's "hysterical laughter," drawing on silent films, affect theory, feminist film theory, and more. Hennefeld, a professor of cultural studies and comparative literature, offers a unique take on women's pleasure and repression—and how the advent of cinema allowed women to laugh as never before. —SMS James by Percival Everett [F] In James, the once-secondary character of The Adventures of Huckleberry Finn narrates his version of life on the Mississippi. Jim, who escapes enslavement only to end up in adventures with white runaway Huck, gives his account of well-known events from Mark Twain’s 1880s novel (and departs from the record to say what happened next). Everett makes readers hyperaware of code-switching—his 2001 novel Erasure was about a Black novelist whose career skyrockets when he doubles down on cynical stereotypes of Blackness—and Jim, in James, will have readers talking about written vernacular, self-awareness, and autonomy. —NodB A Chance Meeting by Rachel Cohen [NF] Chronicling 36 fateful encounters among 30 writers and artists—from Henry James to Gertrude Stein, Mark Twain to Zora Neal Hurston—Cohen paints a vast and sparkling portrait of a century's worth of American culture. First published in 2004, and reissued by NYRB, A Chance Meeting captures the spark of artistic serendipity, and the revived edition features a new afterword by the author. —SMS Who's Afraid of Gender? by Judith Butler [NF] Butler has had an outsized impact on how we think and talk about gender and sexuality ever since the 1990 publication of Gender Trouble, which theorized the way gender is performed and constructed. Butler's latest is a polemic that takes on the advent of "anti-gender ideology movements," arguing that "gender" has become a bogeyman for authoritarian regimes. —SMS Green Frog by Gina Chung [F] Chung, author of the acclaimed debut novel Sea Change, returns with a story collection about daughters and ghosts, divorcees and demons, praying mantises and the titular verdant amphibians. Morgan Talty calls these 15 stories "remarkable." —SMS No Judgment by Lauren Oyler [NF] Oyler is one of our sharpest and most fearless cultural critics, and No Judgement is her first essay collection, following up her debut novel Fake Accounts. Opining on gossip and anxiety, autofiction and vulnerability, and much, much more, Oyler's caustic wit and penetrating voice shine through every essay. —SMS Memory Piece by Lisa Ko [F] Following up her National Book Award–nominated debut novel The Leavers, Ko's latest follows three lifelong friends from the 1990s to the 2040s. A meditation on the meaning of a "meaningful life" and how to adapt to an increasingly inhospitable world, Memory Piece has earned praise from Jacqueline Woodson and C Pam Zhang, who calls the novel "bright with defiance, intelligence, and stubborn love." —SMS On Giving Up by Adam Phillips [NF] Psychoanalyst Phillips—whose previous subjects include getting better, wanting to change, and missing out—takes a swing at what feels like a particularly timely impulse: giving up. Questioning our notions of sacrifice and agency, Phillips asks when giving up might be beneficial to us, and which parts of our lives might actually be worth giving up. —SMS There's Always This Year by Hanif Abdurraqib [NF] Abdurraqib returns (how lucky are we!) with a reflection on his lifelong love of basketball and how it's shaped him. While reconsidering his childhood, his relationship with his father, and the meaning of "making it," Abdurraqib delivers what Shea Serrano calls "the sharpest, most insightful, most poignant writing of his career." —SMS The Angel of Indian Lake by Stephen Graham Jones [F] The final installment of Jones's trilogy picks up four years after Don't Fear the Reaper. Jade Daniels is back from prison, and upon her release, she encounters serial killer-worshipping cults, the devastating effects of gentrification, and—worst of all—the curse of the Lake Witch. Horror maestro Brian Keene calls Jones's grand finale "an easy contender for Best of the Year." —LA Worry by Alexandra Tanner [F] This deadpan debut novel from Tanner follows two sisters on the cusp of adulthood as they struggle to figure out what the hell to do with their lives. Heads butt, tempers flare, and existential dread creeps in as their paths diverge amid the backdrop of Brooklyn in 2019. Limning the absurdity of our internet-addled, dread-filled moment, Tanner establishes herself as a formidable novelist, with Kiley Reid calling Worry "the best thing I've read in a very long time." —DF [millions_email]

A Flash Fiction Roundtable: Short but Never Small

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What’s the state of flash fiction today? Seems there’s no short answer. But I asked a handful of author/editors who write and review flash fiction day in, day out (see some of their favorites published at The Millions earlier this month). Their responses are expansive, touching on the difference between adapted fragments and “a real flash piece;” transitioning from nonfiction and poetry; erotic gapes; Carver, Sarraute, Oulipo, and Joseph Cornell; fast-food literature; guerilla literacy; readers as co-creators, and the future of flash’s evolving aesthetics. Nancy Stohlman is the author of three books of flash fiction, editor of three anthologies of flash fiction, and a prominent instructor of flash fiction techniques; Tara Lynn Masih is the founding editor of Best Small Fictions anthology series and the Field Guide to Writing Flash Fiction; Lynn Mundell is a co-founder of 100 Word Story whose flash fiction has been published in numerous journals and anthologies; and Grant Faulkner is the author of Pep Talks for Writers and the flash collection Fissures. Jon Roemer: What was the first flash fiction you read? Were you writing it before you knew it as a practice, and then realized it's a thing? Or did you have model practitioners before you first started?  Tara Lynn Masih: Yes, I was taught to write in what some call "vignettes," brief scenes that my high school writing teacher encouraged her students to explore… It wasn't till someone gave me Shapard and Thomas's Sudden Fiction that I knew, years later, that what we had been doing in that classroom years earlier was becoming "a thing." Nancy Stohlman: Flash fiction arrived for me in 2007 as I was writing my third novel, agonizing over it like a relationship you really really want to work out, dammit! It was during my MFA at Naropa University—I took a flash fiction class with Barbara Henning, and after so many years of writing more—talk more about this, give more description here, more backstory here, explain this more—it was such a relief to write less. I feel like flash fiction saved me from writing all those novels. Because I never really wanted to say all that other stuff anyway. Six months later I co-founded Fast Forward Press...I read hundreds of submissions and I started to lean into flash with my body, listening for my own voice to emerge. Lynn Mundell: Apparently, I was reading flash fiction long before it was called that since I read Hemingway in high school and then Chekhov, Raymond Carver, and Kate Chopin, among others, in college. During this time I wrote poetry, and much later turned to creative nonfiction. It wasn't until we opened up shop at 100 Word Story that I really started reading flash in earnest, then expanding to include writing my first flashes—a trio of "scary tales" for an early Halloween issue...That said, I really love a good, fat novel! Grant Faulkner: I began writing short shorts before I truly knew flash fiction as a genre. I’m a ragpicker by nature, so I’ve always collected odd things that I find on the streets or in flea markets, and I view a lot of my flash pieces in such a way. Life isn’t a round, complete circle—it’s shaped by fragments, shards, and pinpricks. It’s a collage of snapshots, a collection of the unspoken, an attic full of situations you can’t quite get rid of. The brevity of flash is perfect for capturing the small but telling moments when life pivots almost unnoticeably, yet profoundly. JR: When do you turn to it now? As a writing exercise, or as something that just happens, or with the forethought of achieving something specifically flash? Has your approached evolved or changed? TLM: Flash is a creative respite for me. It's been there through some very stressful times, both personally and professionally. I can sit down at my desk without pressure. I can simply enjoy creating something I know won't take months or years, yet get the same feeling of fulfillment after I've completed a flash piece that satisfies me. Sometimes within the hour. NS: When I first started writing flash fiction I was just pretending to write it—I was basically a flash fraud. My “flash” stories were just cannibalized from my novels and other longer projects and given new titles. And this sort of worked, for a minute, but it felt like cheating (and it was). I think many writers spend some transitional time as flash frauds while learning the form. Eventually you run out of excerpts or longer stories to butcher and you’re forced to do what you should be doing from the beginning—seeing through the flash fiction lens. The switch flips. I knew when I finally wrote a real flash piece and not something passed off as one. It felt different. These days my work keeps getting shorter and shorter. I’m afraid one day an entire story will be distilled down to the letter P. And it will be perfect. LM: I am intentional when I write flash, although my "failed" flashes are probably just exercises or warmups for the better writing. For me flash writing is very challenging but also understandable, because there is a crossover with poetry writing as far as length, use of metaphor, dramatic leaps, and inventive forms in order to deliver a finished piece. I have also returned to creative nonfiction by writing some in flash form. I write anything between six-word stories and those around 1,000 words. It's just lately that I find myself writing longer pieces, although I will probably keep writing flash because I love it and I still have so much to learn within the form. GF: When I get an idea for a story, I always know immediately whether it’s a short short, a short story, or a novel. It’s just an intuitive sense of what form the story needs. The change in my approach over the years comes from my rag-picker aesthetic. I collect words and stray phrases and snippets in notebooks, and often one of those starts to flow into a story. Writing flash has influenced my longer writing. My novels now often move with a flash aesthetic—I like imagining stories in a fragmented, elliptical way—so I think there’s a little flash in all of my writing. I think often of Roland Barthes’s question in Pleasure of the Text: "Is not the most erotic portion of the body where the garment gapes?" It’s an apt metaphor for flash fiction because these tiny stories flow from tantalizing glimpses that lure the reader forward. Writing flash has taught me how to move a story along by implications, through escalating hints, and that what’s left out of a story is often more important than what’s included. JR: What do you think about working with limits, like 100 words? French Oulipo writers felt constraints could be freeing, that overtly imposing them is a way to acknowledge the constraints on writing everywhere. Do you find limits freeing?  TLM: I love working with word count limits because it is more of a challenge. It's double enforcement of the rule of concision. Not only do you have to be concise, you have to find ways to tell your story in an even smaller box. I personally don't feel it's freeing, it's just fun and rewarding if it works. NS: We’re working within limits all the time—publishers define a novel as 60,000 words, for instance, so writers write to that finish line. I love the Oulipo movement, it’s a big inspiration to me. Interesting things bulge against a boundary: you can only paint with the color green; you must finish a film in 48 hours; you have to write a story without using the letter E. Beethoven wrote his most important symphony when he was deaf. I think the magic of flash fiction happens because of the constraint.  But flash fiction is influenced by other artistic movements, too—the Impressionists suggested entire scenes with just dots and splashes, for instance. Of course people didn’t consider it “art” for a long time, and that’s where politics comes in. Remember that the novel was once considered a vulgar, lesser art form mostly written by (yikes!) women! I’ll quote Yoda here: We must unlearn what we have learned. LM: It's sort of like pruning a bonsai, trying to make this perfect, unique item that can be viewed and absorbed in a sitting or returned to and admired with a longer look. That said, the stakes are high because you can really screw it up if you don't accomplish a complete story within that allotted word count, and there sure isn't anywhere to hide from the failure. GF: The constraints of different forms spark different types of creativity, whether it's a sonnet, a villanelle, or a 100-word story. These "boxes" make the creative act more difficult, yet the requirements of the form force the writer to look beyond obvious associations. Imaginative leaps don't necessarily happen by thinking "outside the box" as the popular saying goes, but within the box. I learned this when I started writing 100-word stories after years of writing novels. A novel is like a Southwestern city. You have so much land to build on that you can just keep building further outwards. Writing a story in exactly 100 words is more like building a tiny town hemmed in by mountains and the sea. You have to be very careful with each element you add. You have to eliminate excess. I like to think of my miniatures as one of the artist Joseph Cornell’s box collages—a poetry of assemblages confined in a frame that is its own expansive world. The condensation of a 100-word story can open up the irreducible mystery of a single intense moment. JR: Most people who haven't read flash fiction presume it's like poetry—like an old-fashioned tone poem, impressionistic and without characters and plot. That style of flash certainly exists and delivers in lots of beautiful ways. But flash fiction can also achieve solid narratives, with a beginning, a middle, and an end. When you read flash fiction, what do you like best? TLM: I like the best of every form. In Best Small Fictions, we've drawn attention to the haibun story. I love its mix of prose and haibun, another challenge. Form doesn't sway me one way or another, it's voice, subject matter, setting, details, etc. The same for any short story. NS: People who think flash fiction is like prose poetry have not read enough flash fiction. Just because a piece of writing is small doesn’t mean it’s flash fiction. For me the difference is a sense of urgency: Flash fiction is always telling a story. A woman at a cafe watching the way the fall leaves shimmer in the sun could be a prose poem or a vignette or even a character study. But a woman at a café watching the way the fall leaves shimmer in the sun—as a man in overalls is sawing through the trunk—has urgency. Obviously there’s crossover. Can’t poetry tell a story? Of course. Can’t flash fiction be poetic? Absolutely. But the answer lies in the driving force of a piece: prose poetry and vignettes are driven by imagery and emotion whereas flash fiction has an almost desperate need to tell a story before it’s too late. LM: I like a wide range of styles, from the impressionistic to the "traditional" stories that are very plot-driven, but for me a successful flash has to have a thrust or denouement, even within flash that is more of a hybrid between poetry and fiction. A favorite impressionistic piece is called "Candlelight," by Christina Sanders, in which the daughters witness their mother glow and then dim over the years as she is thwarted at work, men, and just life. It has characters and moves through time, but this very short flash is told through this one really gorgeous image carried throughout. GF: Although a good short short has a beginning, a middle, and an end, flash stories are built through gaps as much as the connective tissue of words. They end, as Jayne Anne Phillips said, in a breath that takes the reader in and beyond the story. The most haunting stories are those that don't provide answers, but open up questions. I like to think of the writer Ku Ling’s words: "A good short-short is short but not small, light but not slight."  In many ways, short shorts are the prose version of haiku. Like a haiku, a 100-word story is an imagist's medium. Every word, every detail matters, but it moves through caesuras and crevices, and like poetry, tone, diction, and timbre can guide a story as much as a rising narrative trajectory of actions. [millions_ad] JR: When people talk about flash, they often mention the modern short attention span. But reading well-crafted flash is a long, long way from clicking on, say, a simple blog post. What do you think about the attention-span angle? Can you make more demands on the reader in flash, compared to longer forms? Can flash fiction be too dense? TLM: They've been discussing the shrinking of the American attention span since the Industrial Revolution in the 1800s. Periodicals back then were publishing many "short short stories," which was the term most of the journals used. So I don't quite buy that theory. Especially since many readers still prefer reading novels. But I do think it lends itself well to online journals and social media, which has helped spread it around the world. NS: I think there should be a special level of Dante’s Inferno reserved for the people who make the short-attention span comment. Is the bonsai tree proof that its creator didn’t have the attention span for a full-sized tree? Basically the logic in the short attention span argument is that flash fiction is the fast food of literature, served up for increasingly dumb and/or distracted readers. I believe just the opposite: not only is flash fiction cultivating a new kind of writer but also a new kind of reader. The reader become a co-creator in the process rather than just a passive consumer. The writer throws clues, the reader lines them up. What the author omits, the reader intuits.  I think it requires more intelligence from the reader. And anyone who has tried writing flash thinking it will be easy has usually had a very shocking revelation. Like painting the Mona Lisa on a grain of rice. LM: We have so much thrown at us these days, from work emails that grind through the evening and weekends to a news cycle that brings tragedy right to us even as it is unfolding. That has to impact our ability to focus on the present and to commit to things that take longer to do. But I am overjoyed to report that I still see people reading and even writing during my weekday train commute, and my youngest son, who is 15, read War and Peace over the summer, which he thoroughly enjoyed. Flash is another form to read, not a replacement for people who are distracted. That said, I suppose flash is very well-suited for social media, since you can read a flash on your phone from the many, many online literary journals out there, or even tweet the shortest flashes. I like to think that flash is doing a form of guerilla literacy to all of the people glued to their devices! GF: In this world of more—more emails, more social media, etc.—people’s reading styles have changed. People scan and read in nuggets, and online platforms are largely designed for that type of storytelling. When we started 100 Word Story, we thought 100 words was the perfect length of story to read online because 100 words is essentially a Facebook post. That said, most flash stories shouldn’t be read in such a breezy fashion. In fact, because they speak to what’s left out, because they often border on prose poetry, the reader needs to pause, reflect, and fill in the gaps—to be a co-creator, essentially. JR: Should flash fiction be considered and judged in a category separate from the conventional short story and its traditions? Readers and writers bring different expectations to short stories than to novels, and its traditions have shaped those expectations. Is it helpful to construct a separate category for flash? Does that fit with the spirit of flash fiction? Or should I quit poking at it? TLM: When I dream of the future, I see flash being taught side by side with the longer form. I know some academics still think of it either as a gimmick or as just a really short story. I do believe that there are differences in practice and execution, and just as there are different forms in poetry, there are different forms in prose. Separate it if you wish, but don't disregard it. NS: Absolutely, especially when we start looking towards flash books. And absolutely there are politics involved—for starters who has the power of naming and defining? Don’t forget the term “flash fiction” has only recently, in the last 25 years, given legitimacy to the form—until then all these stories were “marooned in a wasteland” as Susan Sontag would say, forced to compete with much different stories. In 2011, an anthology of flash fiction I co-edited, Fast Forward: The Mix Tape, was a finalist for a Colorado Book Award—but they didn’t have a category for flash fiction, so it had to go in “literary fiction” and compete against two novels! Apples versus oranges. Flash fiction writers are using a different set of skills and writing a different kind of story. A word of caution: Flash fiction is still emerging, still soft in the hands, still pliable, still wonderfully gooey and fresh. And while this stage of emergence and convergence is desirable, it also leaves the art form vulnerable to others who will want to define it, start to put rules on it. It’s exciting to envision flash as mainstream, but there is also the very real possibility that we will lose some of the elasticity we currently enjoy. LM: Flash may be a sister or cousin to short story and to poetry, but it is its own form with its own challenges and expectations, and now standards. As such, we see contests and "best of" nominations and anthologies dedicated to the form, which seems appropriate to me. I tend to read those because it is a sort of curating of the best writers and stories out there, which I might not be able to find on my own. What might be more debatable is what to call flash. Some like to call it short-short stories because that signals that it is not something trendy, which is sort of what flash sort of sounds like, but rather part of the family of storytelling as old as man.    GF: I find it interesting that some keep defining the word count of flash upward—from 1,000 words to 1,500 words to 2,000 words. At the same time, the conventional short story seems to be shrinking in length. Journals that used to accept stories that were 8,000 or 10,000 words long now ask for stories that are less than 5,000 words. Maybe the forms will meet in the middle, but a novelistic short story by Alice Munro is obviously quite different than a one-sentence story by Lydia Davis, so I think of flash as a distinct aesthetic, one that lives on the border of prose and poetry, one that requires a different sensibility, so I turn to it as a writer and a reader with different expectations and needs. JR: Who are your favorite flash fiction writers? Who has been influential for you? TLM: There are too many to list. But I'd have to put Yasunari Kawabata at the very top of mine. His Palm-of-the-Hand Stories should be required reading in every English class. NS: This is a hard question to answer, because what is happening in the flash world right now is a full-on literary movement: every flash fiction writer I know is kicking some serious butt. Literature is changing. It’s an exciting time to throw rocks into the status quo and watch the ripples. The anthology Flash Fiction Forward by James Thomas and Robert Shapard was influential in my flash education but the book that finally did it for me was Lydia Davis’s The Thirteenth Woman and Other Stories. I was in Puerto Rico by myself and I read that book and I was like—yeah. I get it.) LM: This may be the hardest question of all, since there are so many excellent flash writers out there! I am going to skirt around any hard feelings by not naming a friend or 100 Word Story writer. I am a Lydia Davis groupie, and an Etgar Keret admirer. I love Jenson Beach, who wrote one of my favorite flashes, "Family." I am a big fan of a California writer named Kara Vernor, whose work takes risks and is memorable and sophisticated. I just discovered Helen McClory after reading her incredible flash called "Pretty Dead Girl Takes a Break." I couldn't find the story again online so I bought her book in order to reread that one story! That's the best kind of flash, that you just really crave and want to read over and over again. GF: Nathalie Sarraute’s Tropisms is landmark collection of short-shorts for me. “Tropism” is a biological term that Sarraute described as the “interior movements that precede and prepare our words and actions, at the limits of our consciousness.” Sarraute sees these subconscious pulses as fleeting and often indecipherable, so we are unable to comprehend them when they happen. I love short shorts because they’re perfectly equipped to capture the nuanced turnings, the tropisms, of life. Image Credit: pixabay.