I’M JUST LIKE EVERY INSECURE WRITER: An Interview with Drew Buxton
June 23, 2023
There was this thing near San Antonio when I was in high school called the Elmendorf Beast that killed livestock. It turned out it was just a coyote with mange.
Interviews & Reviews
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MY IDEA OF SELF IS SELF-INFLICTION: Jared Daniel Fagen in conversation with Vi Khi Nao
April 21, 2023
I don’t feel free, Vi. Never have. I know you don’t either. I don’t know anyone who does, or has. Maybe nothing is, nor should it be.
CALVIN WESTRA’S “DONALD GOINES” REVIEWED by Conor Hultman
November 17, 2022
What Westra does is this brilliant magic trick: he takes these simple sentences, with their insouciant humor, and stacks them like bricks.
CENTOVIEW WITH DAVID WOJCIECHOWSKI by Evan Williams
November 10, 2022
I thought the world would understand. But no.
WRITING BY EAR: Dashiel Carrera interviewed by Kira K. Homsher
October 4, 2022
Transfixed by the odd turns and cadence of its speech, each day I set a timer and kept writing until the alarm went off. This approach no doubt held its roots in my background recording music: I thought of these writing sessions like performances, called “takes.”
THE WORSER PERSON IN THE WORLD: STEPHANIE LACAVA’S I FEAR MY PAIN INTERESTS YOU by JC Holburn
September 8, 2022
LaCava’s story straddles a tenuous faith that through constant debasement and submission a breakthrough can occur, undergirded by a mind/body conundrum: if the pain isn’t felt, is an uninvited infliction technically still misconduct? Answer: yes, yes it is.
RAVI MANGLA on film with Rebecca Gransden
August 25, 2022
Video, broadly speaking, is the medium people interact with most on a daily basis, so I think contemporary fiction has some obligation to engage with it (if aiming to render the world as it exists).
LAUGHING PRUDISHLY; A REVIEW OF MARSTON HEFNER’S “HIGH SCHOOL ROMANCE” by Evan Williams
August 11, 2022
For Hefner, the awkwardness is the point, and he wields its power well.
J DAVID OSBORNE on film with Rebecca Gransden
July 26, 2022
I’ve always been confused about books that attempt to tell a straightforward, filmic plot through the written word. Isn’t that just a less-good version of a medium that already exists? Instead, why not adopt film’s self-confidence?
MYSTERY AWAITS: A REVIEW OF CRAIG RODGERS’ “FRANCIS TOP’S GRAND DESIGN” by Kristin Cleaveland
July 21, 2022
There is an otherworldly quality to many of these tales, a blurring of edges that gives the impression that the stories’ events take place somewhere between waking and sleeping.