So many of Gaudry’s sentences, from the very first – “Because most nights during the final semester of my MFA at George Mason University, while recovering from a mild traumatic brain injury, I fell asleep watching Prison Break on my laptop in bed.” – to the penultimate sentence – “Because words, imagined in the greatest yearning, as a means of finding love, defining it; as a means of shaping it (This is how it feels, this is where it hurts) and sharing with others its permutations, astonishments, exaltations, and erosions.” – seem to offer an explanation for some unstated condition.
Tag: fiction
A review of Final Curtain edited by Steve Berman
Final Curtain is a well curated collection featuring a pleasant variety of stories and interesting perspectives and interpretations of the characters and themes of The Phantom of the Opera. The period pieces are heavy and languid, broken up effectively by modern retellings, more experimental works, and the doings of cats. Choosing classical in style pieces at the fore and aft of the anthology was a masterful choice; one prepares you for what follows, the latter closes the loop; the audience at the theater retreat satisfied.
A review of Sea, Poison by Caren Beilin
Both despite and because of the sweeping, sincere critiques of medical and capitalist corruption, Beilin buoys her sea with tongue-in-cheek wit as well as humor, a hallmark of Oulipian writing. Every joke and turn of phrase maintains the novel’s brisk pace, an asset most well-executed when Cumin’s post-surgery mind sputters out choppy fragments.
A review of Anna by Angus Gaunt
The whole book has a feel of allegory, with the forest taking on an almost animistic feel – you get the sense of this non-human life crackling around Anna – but we also are invested in Anna’s survival. This is partly because Anna’s trajectory is driven forward by her growing survival instinct as she navigates night-time cold, constant hunger, environmental dangers, and the ever-present threat of the people she encounters – some helpful and some less so.
A review of Our Precious Wars by Perrine Tripier
Tripier’s exacting prose captures the story of a woman locked in and looking back on life, but it also holds moments of sheer joy recognizable by any reader who’s creating or reliving memory. May those moments extend beyond the walls of a house into a fully-lived life. Level the rubble, indeed.
The retrofitted grotesque: A review of Vivienne by Emmalea Russo
Russo’s Vivienne is an off-putting montage that attempts to answer what art has to atone for, or whether it has anything left to offer at all. Women who are childish, nearly opaque, and naturally mildly misandrist are a rare and treasured sighting that I am delighted to have been granted.
A review of The Current Fantasy by Charlie Haas
That Haas is a successful screenwriter (Gremlins 2), comes through in the novel’s vivid and cinematic details. Every step of the way you participate in the sights, sounds, smells and real challenges of building a commune. At one desperate point, Benji bicycles from San Bernardino to Los Angeles, a remarkably believable trip.
A review of Ischia by Gisela Heffes
The story quickly transitions though as we’re carried by a bird and further out and down the rabbit hole via layered patterns of dissociative travel. Ischia encounters a dizzying array of wild circumstances which challenged my conception of the bounds of traditional storytelling.
A review of Suicide by Édouard Levé
The narration in particular demonstrates Levé’s artistry. The book’s speaker addresses his friend, recounting a wide range of events, conversations, and thoughts that took place before the suicide. But wait—he, the narrator, is recounting incredibly specific details about his friend’s life, quoting conversations, explaining worries and trains of thought that his friend, not the narrator, experienced.
A review of Sentence by Mikhail Iossel
The stories in Sentence thrive in the midst of foreclosed freedoms, a confining environment but never without a sense of curiosity and interest. Sentence may forego periods for the brief spaces allowed by commas, but the narratives are well-structured, darkly humorous, nostalgic, investigative in regards to the surreality of trauma, survivor guilt and paranoia.