What John Keene has given us in Counternarratives is fearless fiction.
American poet Paul B. Roth is keenly aware that a striking phrase can set a dream in motion.
The authors have used their research well. Beyond applying an abundance of detail to trace his intellectual growth as well as the trajectory of his emotions, Eiland and Jennings have managed to intimate—though perhaps not to capture—something more elusive: a sense of Benjamin’s aura.
Throughout these superb stories, there is a certain desolation, of the heart as well as of the landscape.
The omniscient narrator in Natura Morta is flawlessly neutral, allowing the images, the minimal action, and the character’s reactions to the events of this single day in a Roman square tell the story.
Robert Olen Butler chose his protagonist wisely. Christopher Marlowe Cobb is a man of both intellect and physicality, of thought and action.
In the superb “But where is the lamb?,” James Goodman takes up the numerous ramifications, moral and otherwise, of God’s chilling command to sacrifice Isaac and Abraham’s — perhaps more chilling — acquiescence.
“Heat” is a fictional interview in which Dickinson asks uncomfortably intimate questions and then imagines the answers Seberg might have given.
Rachel Hadas’ poems present deceptively calm surfaces, like a lake that hides its rich inner life beneath bright reflections of clouds and blue sky.
Poet Mel Kenne, like a desert ascetic, has pared away everything that is not essential -— no words have been wasted in the making of this collection.