
I read. I write. Sadly, I’ve learned over the years that I am an awful reviewer. I can converse about books, but when I set out to write about them, the critique part of my brain devolves into grunts and hoots. Any intelligible attempt at an academic critique finds my original thoughts replaced by clichés and tropes. The same for my emails (all subject to endless drafts and restructuring). But not today, Satan. Today, I blurb. I can blurb. That I can do. Hence the style of this column. Warning, all books are praised. A few, more than you think

They’ve brought in a man with a lie detection kit for the reunion of the seventh season of my second favorite reality television show. They’re getting all of the ladies wired up to his machine and asking them if they think they are the hottest lady in the office. The “office” is the real estate firm where they all work as real estate agents. All of the ladies say, no, they do not believe they are the hottest lady in the office. The machine goes off every time. It’s good to believe that you are the hottest lady. It’s gotten

Part of the fun of being a writer, and learning from other writers, is seeing what others leave of themselves on the page. To follow their work and discover their signature—the intangible that makes someone’s writing so intensely theirs that there is no mistaking it for being anyone else. There’s no mistaking Aaron Burch on the page. Tacoma (out with Autofocus Books) has all the hallmarks of a Burch book—nostalgia, magic, fun, optimism, friendship, and more heart than almost any other writer doing it today. As writers, we’re often taught that characters should grow through hardship, conflict, and struggle. Tacoma

after Chris Erickson Tristan Funicular fell asleep not long after dawn. His teeth were on wrong and his bong was full of something less like water and more like moss. He was lost. His stress level was Jurassic. His panics were unlearned. This was a mere hours before Tristan’s door was kicked down by the scholar Parlor Hallelujah who demanded her dues. You see, Parlor Hallelujah was a crooked academic, a well-known non-peasant, an aggressive lecturer, a stirrer of sins. The hushed business she conducted was equal parts consultation and intimidation. She lived off the wisdom she gave to others. Hundreds

First and foremost, don’t panic, baby girl. And please understand that it’s not your fault—you aren’t in this situation because you’re young and dumb, or because your already-questionable decision-making has been dulled by the crumbled-up mushrooms you took in the Porta-Potty out in the parking lot before the show, or because you ditched your girlfriends and joined the stampede to the stage with thousands of others when those first chiming notes rang out; no, sweetheart, the blame lies squarely at the feet of the concert promoters who cared more about selling tickets than about crowd density, and in the hands

In Samuel M. Moss’ debut novel The Veldt Institute (Double Negative Press, 2025), anonymous patients seek the cure for their own ineffable malady. Their treatment is conducted on the grounds of the titular institute, some strange cross between an abbey and a sanatorium, where their philosopher-doctors prescribe a wide range of strange and specific activities. Reading this great book, and particularly the accounts of these treatments, prompted me to take long walks, sit by the lake, and stare at my ceiling. I asked Samuel M. Moss about some of the practices behind the cures. Perry Ruhland: One of the

$25 | Perfect bound | 72 pages
Paperback | Die-cut matte cover | 7×7″
Mike Topp’s poems defy categorization. That’s why they are beloved by seamstresses, pathologists, blackmailers and art collectors.
–Sparrow