In his latest novel, Benchere in Wonderland, Steven Gillis finds the intersections between art and society on both the micro and macro levels.
I’ve always spoken in pop music. I failed French, but I can find a song that captures the essence of that late-night drive we took in 2005, where we counted churches and bars in every dingy small town we passed, or a tune that describes how it felt to wander around New York City after dark.
No matter how many times Horace told her different, Eliza knew her brother was wrong. The woman in the woods didn’t look the least bit dead.
The central conceits in the writing of Tom Williams are the ideas of duality and alienation, people inhabiting two worlds without really fitting in with either.
Most of the stories in Adulterous Generation are about young people in varying degrees of distress. While each is fiction, many of them come from the young person I once was, or the young people I knew then or know now, and the trouble we all found ourselves in.
Mu wakes up in a comfortable bed, in a room with blue walls, next to a woman who snores softly with her back turned to him.
Is it in our nature to be predatory? The characters in Kristine Ong Muslim’s dystopian Age of Blight pose – and possibly answer – this question…
It began with Agatha Christie, as so many things do. In a moment of curiosity, I picked up The Murder on the Orient Express, and a few days later I read And Then There Were None.
I thought I heard someone being murdered. What can I say — that’s what I heard. I woke my husband up.
As writers, our art attempts to both impose order and to best it. We wrestle with the distinctions between poetry and prose as much as we strive to adhere to them.
When I think about what inspired my dark comedy about a dysfunctional family beyond my own autobiography, I keep going back to two Danish films in the late 90s and early oughts…