Aimee Parkison’s new collection of stories, for which Parkison was awarded the FC2 Catherine Doctorow Innovative Fiction Prize, outshines many contemporary literary conversations on misogyny, the “female body,” and women’s rights.
With the reprint of a "great American novel," American Genius, A Comedy, Lynne Tillman has perhaps now (if not already) set her literary/conceptual art legacy for generations to come.
The plant mariposaa flower with several bright speciesis the perfect rainbow to remind us this novel exceeds any rules of genre. Exquisite Mariposa also refers to the brightly colored, Instagramable cast of Los Angeles post-college, post-climate change, drug hazed, post-Obama, I read them. magazine every Sunday morning in my email, even if I aint them. young adults.
When literally only a handful of readers knew of Lidias work, she was always on the verge of something, slicing away at language like it was hers and hers alone, like she could turn it into anything, blow it up, tame it, orchestrate it, filibuster it, drown it, launch it into the sky. Now Yuknavitch has, indeed, reached a vast audience with bestselling books and as a TED speaker.
At a time when women are still expected to disassociate from their bodies and defer to straight male desire as if it were the only natural impulse, Carmen Maria Machado’s prose moves directly inside the female body with an entirely different drive.
Despite the centuries old and universal topic of the mother-child relationship, the dyad of all dyads, Michele Filgates anthology reminds us the subject never grows stale. Rather it is perfectly-flavored dressing atop the most flavorful edible garden.
If I crashed—shuddered by whiplash—boat wrecked and abandoned on a deserted island, and I had to choose only one author’s texts with which to spend my days, that author would be Maggie Nelson.
At a time when evangelical values have, by Bush or by crook, descended upon the United States like the aftermath of a Hiroshima mushroom cloud, we might as well remember a controversial Victorian, Sigmund Freud.
For many years, I have been watching the birth and development of Tyler Cohen’s wonderfully tactile and surreal “Primazon” drawings in San Francisco.
By employing a classical theatrical technique of dramatis personae, rather than realistic novel characters, perhaps Ives is able to move between so many registers that enable her unusual mash-up to excel as at once philosophical and planted in the mud.