Lost Empress’ ambition is admirable, and while the over-the-top style gets away from itself, it’s lively and sometimes entertaining.
William Gass’s primal loyalty was to the words composing his texts.
Richard Gessner’s head is a cavern piled high with wonders—original images, fresh metaphors, mind-stretching scenarios, and alternate world orders.
Poet Rob Cook bends time and space at will, dispenses with natural laws when convenient, and shuffles sensory perception like a deck of cards.
So now you know: Saddam’s fearsome weapon of mass destruction was a novel.
A Painter of Our Time is a gorgeous rumination on art, love, sexuality, revolution, capitalism, exile, propaganda, politics, human nature, and society.
“Surely the passion for the plain, the homespun, the banal is itself a form of betrayal, a refusal to look honestly at a complex universe.”
Nate Liederbach demotes plot and Aristotelian mechanics, replacing them with the acrobatics of a beer-loud voice.
Fighting God is logically argued, lucid, and makes a powerful case for a more secular nation.
Thanks in large part to brevity alone, the way these stories work is closer to poetry than to fiction.