I walked in my grandfather’s garden while my sisters took their turns saying goodbye. The peony bushes, now barren, were my grandmother’s favorite and, for her, he had always tended them. She had long forgotten who we were, but just that morning had told my sisters and I how much she missed peonies in the springtime. I walked past her still staring at the empty bushes through the window when I came inside to take my turn.
Nick KolakowskiA HISTORY OF WASHINGTON, D.C. IN NINE SCENES June 1792 My Dear Elizabeth, This is beautiful country. The hills are a verdant green & the river Potomack bountiful with fish & amenable to navigation & it seems agreeable that…
This is what you do when you are out of diapers: you go to the store. You go to the store because your husband is out of town and can’t stop by on his way home from work. You go to the store despite the news warnings, despite the way the air has sunken into a disquieting yellow. You go to the store because last night the baby cried for two hours, kept you up from one to three, before you finally pulled him into your bed and placed him on your husband’s side, nestled him in a pillow that wouldn’t let him roll over. You go to the store because maybe someone will talk to you; maybe someone will wonder how you are doing while they hand over your change, and you will be able to smile and laugh and roll your eyes because, Well, you know how newborns are.
A blocked valve facilitates prayer. A blocked airway inspires a
sudden reinvestment in the communicative powers of miming. A
blocked pathway introduces the stern demands of an omnipotent
being. Palms should be dry, mouth wet, or is it the other way
around? Like the soldier the child imagines himself becoming,
Gloria YuenFROM HERE TO THERE Barrier on, the device declares. “When you initiate the force field,” the Head Agent instructs, “you lock yourself in an impenetrable membrane. It will keep danger out. But it will also keep you in.” Barrier…
those
various yellows, golden-rods, butter-fat, chrysanthemum wax-wings
..sprung from thin etchings of faith, is it just random—
....the rabbit/sleeve disguised: the magician’s headband
white as an Olympic
...........jogger’s, woolen shawl red as the gore in a dog-fighting ring?
moves in gravelly time, so that the words I say here
have been said before, and my car
is covered with the dirt and dust of little cabins
where people live on the sun,
In the first motion, I wrapped everything in newspaper,
emptied glass stones from the bottoms of fishbowls,
recycled the recyclables, bandaged my raw hands,
cut up ancient credit cards and plastic valuables,
braided the sheet rags, the scarves, the silk slips.
When the seabird completed its third circle, the only cloud in the sky parted in two just as you said it would, and once the topmost layer of sand, thin like a vapor, blew across the beach and into the sea as an enormous wave collapsed on the shore, there you stood, like you’d been swimming under the wave all along, your trunks glistening black as you stepped forward, above me, your hair dripping cold sea on my sun-warmed skin, the two of us alone on the beach, pretending we’d been there together since morning, you swimming while I bathed in the sun, and our embrace and my tears that followed, were simply acts of impulse between us, then switching to laughter because for the first time that day...
In 1944, at the age of five, I invented the magnifying glass. The end of a Coke bottle, when held up to the sun, could make anything burn and vanish. First, bits of paper—cellophane from my dad’s Chesterfield packs, and my bubble gum wraps—then live things like slugs, worms, the hind end of ants. Once I torched a whole village, many casualties, dead ants smelling like burnt tires. I needed to hurt something that couldn’t hurt me back.
On the night the hunter shot the moose, they asked me to hold the lantern. Three men struggled to hold the body so the hunter could make the cut, and I cast gold light over them as he sawed along the ribs of the bull. There was no smell but male sweat and the crush of dead leaves under the tarp around us. Death hadn’t been there long enough to diffuse its odor into the night.
In the silver heart of everything
there is a constant quivering.
We think the sky is boneless
only because it hides them well.
The world, I never thought, was worth its wake
In my image alone, kicking storms about itself
Like me, a bright desert whore in plain, my face
Mariah GeseTHE CAT APOCALYPSE When it happens we are prepared. The way we know it’s a real apocalypse: the portents of headless voles on our pillows. We divine it in the depths of carpet vomit, in the bones of small…
The winter when Lucy was nine and her brother Nick was 12, he taught her to play chess. They bent over the crosshatched board on the living room floor in front of the fireplace, blonde heads nearly touching, all through Christmas break and into the new year. Wool socks and hot cocoa and Bing Crosby late into the night, the Douglas fir in the corner shimmering with tinsel.
There is a ceremonial volley over a grave
I climb on the branch of an olive tree
to peep at the field where unarmed men
faces the firing squad, their prayers clamped
inside their mouth. from over the fence
I chose my favorite prisoners
You will score 135 points in your next high school basketball game. January 26, 1960 is the night it will happen. Hello hoops history. Guinness Book of World Records, here you come. Your name is Danny Heater, and your record, 135 points, will last. But, this does not come as straight victory. It does not come without problems. And which problem is worse: that your mother missed the game or that you didn’t even get to enjoy your record? Your world record, the one that congeals and permanently attaches itself to you. It’s basketball. It’s a game. But your record makes you proud and embarrassed. It makes you happy and sad.
A week after the classes ended, the community service started.
Seven of us stood in a small lot outside of a small zoo. It was the kind of place single dads with child support payments take their kids because it’s close and cheap.
The church retreat is the last bit of bullshit before we get confirmed. We are at a bunch of crappy cabins on the dumpy shores of Lake Erie. They call it a holy camp, gave it a fancy name too: Camp Gold Field. They got the field part right, but I don’t know where they got the gold. Everything here is barren and gray. Last night there was a thunderstorm, but today the sky is defeated and a blanket of grey snow clouds have replaced the horizon. The seasons are theatrical in these parts—especially during April.
It has nothing to do with the banjo –this chair
aches for wheels that will rust, wobble
the way riverbeds grow into something else
A Civil War cannonball dug from a field
near Petersburg now props open the door.
He shows me in. The room was purpose-built
to house his large collection. In matched pairs,
bullets are bedded like lovers and displayed
by battle, Antietam through Yellow Tavern.
After closing the door, he cradles the ball
on his lap and strokes it like a hefty kitten.
No explanation why it didn’t explode,
or won’t someday. Should ammunition purr?
I was driving smooth along I-205 in the brand new GS F Lexus because I needed a car, not a bike, according to my parents, and Brad’s asking me, “Jeremy Lin? Like the basketball player?” because maybe Brad was wondering if I was the point guard for the Brooklyn Nets, but he didn’t want to be racist in case I wasn’t and he was also trying to sell me this car and silent rides weren’t good for a sale. I explained that while my name was Jeremy Lin, I was in fact, not the point guard for the Brooklyn Nets who went to Harvard without a scholarship and averaged twenty-six points per game. I didn’t even hit six feet. I knew all this because I knew everything there was to know about him (as I assumed most people would if they shared their name with a celebrity). I’d lived in his shadow for the past six years he rose to fame.
A guy comes into the drugstore and goes to the snack aisle. Early twenties, longish hair, patchy beard like he never learned to shave properly. He glances at me so I look away quick, busy myself with straightening the packs of Life Savers on the counter. I’m not watching him because he’s attractive or anything. He isn’t. He’s skinny and stoop-shouldered. I’m watching him because of how his eyes dart around and because he keeps fidgeting with a buckle on his canvas backpack.
Emily SteinbergPAUSED with an introduction by Susan Squier My own menopause was a surgical one. It surprised me over the course of several months, with excruciating pain, then finally a diagnosis of ovarian torsion, then a hysterectomy It announced itself…
It’s inevitable—they order wine for the table and the topic turns to death. Three drinks in and they’re all tipsy and tender. Ladies’ night out isn’t supposed to be about death. It’s about looking and acting alive—youth and vibrancy signaled by rouge on the cheeks, pink on the mouth.
With a title and subtitle like Gaslight: Lantern Slides from the Nineteenth Century, the reader will be forgiven for thinking Joachim Kalka’s book is a collection of visual art. It is not. Though it does contain a handful of visual descriptions, it bears not one illustration, woodcut, or photograph. No lantern slides, and no visual depictions of gaslight. What it has instead are words, many of them, artfully arranged. Kalka’s words, assembled into eleven essays and a preface, are densely packed and remarkably pointed. Although his purpose is to glance back at the nineteenth century, not to historicize it, or even to theorize about it with a particular agenda, Kalka is a highly organized thinker. His insights prove scintillating, if specialized.
Karen Donovan’s Aardvark to Axolotl and John Shea’s Tales from Webster engage with this paradox via the dictionary, that great alphabetizer of language. The dictionary is the reference-book-of-all-reference-books. It is writing broken down to its most basic components, as a color wheel separates out the most basic tools of the painter. It also makes for dry reading. As far as plots go, it’s lackluster.
About two years ago, Luke went off to the Midwest to get an M.F.A. He just moved back home to take a job at our old high school, where I also teach.
This would be great except that “Elaine,” the woman he has been seeing since about Day Two of his Master's program, moved here with him. Now he tells me they are getting married in September. I am not crazy about Elaine and have no doubt that life will not be as much fun with her in the mix, but I can live with the situation.
Acclaimed writer David Plante’s book, published originally in 1983, is an account of his friendships with three women central to the artistic and intellectual world of the 1970s. It is a rare act of memoir writing to describe oneself as the shadowy sidekick to other, presumably greater and more interesting characters. In nonfiction writing classes, this point of view would be discouraged.
Ivory Pearl is Jean-Patrick Manchette’s final and unfinished novel, now available in an English translation by Donald Nicholson-Smith. Manchette was known during his lifetime for his 1970s crime novels, noir that gained popular movie adaptations and made him a standard among French crime writers. This translation features endnotes on how Manchette envisioned the novel ending, and an introduction written by Manchette’s son, Doug Headline, which is as affectionate as it is informative.
Divided into four sections, Deborah Burnham’s poetry collection Tart Honey seems cut into citrus slices— edible, organic, and aware of some lost and bodily whole it re-composes in the formation of its parts. The poems feature modern relationships with too much absence, a dissolving picture of Apollo 13 soon taken over by a persona attempting to collect her body into experiencing her partner, and paintings with colors that spill into cells, among other simultaneously harmonizing and divisive images.
Janet Benton’s debut novel, Lilli de Jong, has received praise from critics and readers alike. Kirkus Reviews called the book a “monumental accomplishment.” Both National Public Radio (NPR) and Library Journal recognized it as a Best Book of 2017. Lilli de Jong was also a 2017 Goodreads semifinalist for Best Historical Fiction, sharing space on the list with works by Pulitzer Prize winners Michael Chabon and Jennifer Egan.
The Juniper Tree is a mid-twentieth-century retelling of a Brothers Grimm fairy tale of the same name, though Barbara Comyns has made the story all her own. Originally published in 1985, The Juniper Tree tells the story of Bella Winter, the unwed mother of a biracial daughter, through her quest to live life on her own terms in a world where she is patently disapproved of for being who she is.
In his introductory comments for The Kremlin Ball, Curzio Malaparte claims that his novel is “a faithful portrait of the USSR’s Marxist nobility.” Such a thing should be anachronistic: a Marxist nobility? A communist high society?
But that is exactly what Malaparte, as the novel’s narrator, is describing.
I left the chicken simmering on the stove and stepped out onto the balcony. I wasn't sure if I had heard the front door buzzer or not, but there was a tall young man—my daughter's apartment-mate was tall, she had said—standing outside the building, fiddling with his keys. Maybe he had gotten locked out. I propped open the apartment door with a mop and ran barefoot down the three flights of stairs. So many things to adjust to in New York City: locks, shoes.
"The only thing that matters is the work you do. It’s nice to have a narrative of beshert. It’s useful to have as a model in a long marriage. That kind of can float you through difficult times. Times when you could give in. It is irrelevant to the strengths of your marriage. The only thing that matters is how much you’re willing to prioritize your partner. That is what marriage—all the wonderful ties. Even when you don’t feel like it. The only thing that matters is the work." —Ayelet Waldman
Headlands Quadrats and It’s No Good Everything’s Bad speak to anyone who appreciates poetry, and lovingly handcrafted poetry chapbooks. Both works strike a delicate balance between lyric and narrative modes—the former leaning further into lyric and the latter into prose narrative. Headlands Quadrats will be especially notable to those with an abiding interest in ecopoetics, and It’s No Good Everything’s Bad to those drawn to feminist poetics, Marxism, and humor.
Dear June,
Zeb, a guy who works at my office, just gave notice because he got a job teaching art at a private school. Today when we were all sitting around after our monthly all -staff meeting—which is one of the only times I’ve ever seen him, since he’s in another department and building—somebody asked him about the school. After telling people where it is, how many kids go there, and so forth, he summed it up as “a fancy school for spoiled fucked-up rich kids.”
The work of literary translators can be viewed as vital, especially given the forces of nationalism today, so it is no small matter that someone of Lahiri’s caliber has joined the ranks. For Starnone and his readers, it means his novel Trick arrives in English in mesmerizing form.
Playing Catch with Strangers consists of a long series of short essays. Most were written for print or online publications and not originally intended as book chapters. They are clean, straightforward, and easy to read. They are also salutary—in the sense of promoting better mental health and positive emotions. Brody reminds us of the many gifts that life offers to those who pay it close attention.
The Radical Element: 12 Stories of Daredevils, Debutantes, and Other Dauntless Girls is an anthology of feminist fiction, celebrating what editor Jessica Spotswood calls in her introduction the “quiet badassery” of young heroines taking charge of their own identities. This collection is a follow-up to A Tyranny of Petticoats: 15 Stories of Belles, Bank Robbers, and other Badass Girls, also edited by Jessica Spotswood. Similar to the first volume, the pieces in The Radical Element span a wide range of historical time periods and geographic locations, from 1838 Georgia to 20th century Boston. A brief author’s note follows each story, with additional information on the historical context or the inspiration behind the work.
The title character of Igiaba Scego’s novel Adua is a Somali woman caught in history’s crosshairs. Born to an ambitious, mercurial man, a translator who sold his skills to the Italians during Mussolini’s pre-WWII push to expand his African empire, Adua's life is shaped by choices she didn’t make and subject to forces she can’t control.
The jacket of J.R. Helton’s memoir, Bad Jobs and Poor Decisions: Dispatches from the Working Class, shows an assortment of loose black-and-white sketches: a marijuana leaf, a packet of cigarettes, a typewriter, crumpled beer cans, lines of (presumably) cocaine, a gun, a cockroach. Among them, figures emerge: A man’s face covered in huge beads of sweat, a woman with long dark hair shown from the shoulders up, a pole dancer. These images appear regularly in each of the seven long anecdotes that make up Bad Jobs, working as signifiers of a place, time, and social class. The place is Austin, Texas and the time is when the tail end of the 1970s met the Reagan 1980s.
If you’re a fan of short fiction, it’s likely you’ve come across Kim Magowan’s witty and layered stories in one of the many venues her work has appeared in. I met Kim a few years ago, and since then she’s become a go-to writer for feedback on my own work. Additionally, Kim’s innovative flash stories, particularly those that experiment with form and structure, have been an invaluable resource in the flash workshops that I teach. Last month, Kim’s collection, Undoing, winner of the Moon City Short Fiction Award, was published by Moon City Press, and next spring her novel, The Light Source, will be published by 7:13 Books. Magowan’s female characters, who often engage in what many might consider taboo behavior, are complex, intelligent, difficult, and compelling women.
For a novel about witches, magic, and family curses, Leslye Walton’s The Price Guide to the Occult has a lot to say about humanity. More than a century ago, a witch named Rona Blackburn landed on Anathema Island, where she was met with fear and vexation from the island’s founding families. Determined to rid their island of her “as the tide erases footprints in the sand,” they burned her home down. So she, naturally, cursed their entire bloodlines
Who we are is a complicated thing. Interactions influence perceptions, and perceptions influence memories. Having lost her father in a tragic accident when she was only seven, author Sharon Harrigan attempts to unravel the mystery of the man her father was in the powerful new memoir Playing with Dynamite. “I was relieved when he died,” her brother wrote her in an email. “It’s terrible to say, but it’s true.”
Dear June, So my boyfriend and I go to the home-improvement store to buy a scale and I go to the nearest help kiosk or whatever you call it and ask one of the sales associates for advice. Specifically, I…
“Show-don't-tell” is fine advice—unless you apply it absolutely, as if you should always show and never tell. Here are seven ways your prose and poetry can breathe with both showing and telling.
He started with her teeth because he was sick of the expensive foods she’d eat: crusty breads, chewy steaks, stubborn fruits bitten off their pits and stems. When he first told her, she was outraged and not at all compliant. But he knew her better even than she knew herself. She would come around, and she did. She was in pain for weeks but never complained. They ate soup three times a day and saved about fifty dollars a month.
The floor of my Honda is maps stretched wide, the radio all static as I pass rusted mailboxes, farmland, orchards. Leaves are flushing orange—soon much of this scenery will break and fall. The plummet of fruits from boughs, the thick perfume of ripeness.
