
HIS FATE AS AN ARTIST: A Review of Uzodinma Okehi’s HOUSE OF HUNGER
I find that autofiction writers tend to have great senses of humor, because without one they’d be too horrified to tell the truth.

I find that autofiction writers tend to have great senses of humor, because without one they’d be too horrified to tell the truth.

While we wait for the fruits of deliberation, my mother asks me to get personal. I tell her I’ve been nightmaring about getting kidnapped and beating the captor up.

You wouldn’t go back in time, but you would stay forever in the present moment. At least that’s how the dream went.

She looked at that tree as if it were a murderer, and with hate in her eyes told me that in her dreams every night she sneaks over with an axe and chops it down with two strokes.

Christina was the John Swartzwelder and Kurt Vonnegut of this book – all of the funniest scenes and lines with the best comedic timing are hers.

At night I dreamt of pelicans strung up in the oaks by their beaks, choked in Spanish moss, the storm’s winds blowing them down. Cars sliding through gasoline, smearing their bodies into the street.

This film is a Freudian’s dream. The way Cheryl constantly offers him milk isn’t exactly subtle.

She emails me a PDF of instructions. The first is Learn to sit quietly with yourself. I feel that we have already skipped a step.

At its essence, this story is about existential amnesia. What do we need to remember? What do we want to remember? And what’s the difference between them?

There was a fence, and there were holes in it, and she looked like a lizard sometimes, a shitload of speed coiled inside some slender frame.