The dead fuel Jesmyn Ward's novels. She feels the weight of their stories; she shoulders them, shares them. In Sing, Unburied, Sing, their chorus of voices - even in the epigraphs but also in the novel - reverberates between and beyond the covers. Ward's are heart-shattering stories. But they
One August morning, I sat down with Angela Lopes' Bridge Retakes. The neighbourhood was pulsating with summer noise. A house was being constructed six doors down, prettifying work was underway two doors down, a landscaper's leaf-blower was out of sight but roaring, and a neighbour's grandson was cranky about
These are the kinds of stories which expose the imperfections which lie beneath a carefully smoothed comforter. Honest characterization is key, Lisa McInerney explains to Marie Gethins,: "There is absolutely no element or aspect of their characters’ lives a writer should shy away from presenting, no matter how unpleasant.
As September comes closer, a big part of the reading-me shudders in panic. With the new catalogues and the tempting pitches, the prizelists and the festivals: how to fit in all-the-books. When one's reading plans back in January are still all needy and stuff. Oh, and some of those
Reading this story might change your reading life forever. That's what happened to Peter Orner, whose essay on Mavis Gallant's stories is mesmerizing: "The Way Vivid, Way Underappreciated Short Stories of Mavis Gallant", published in The Atlantic's "By Heart" series. "The first story I read is called 'The Ice Wagon
