Stories We Love: “River Dog,” by Andrew Porter
by Joshua Bodwell
“The narrator’s voice is earnest and haunted”: Joshua Bodwell on why he loves Andrew Porter’s “River Dog.”
“The narrator’s voice is earnest and haunted”: Joshua Bodwell on why he loves Andrew Porter’s “River Dog.”
“The inner landscape is something fiction can do far better than any other narrative art”: Tim Weed with Art Hutchinson on travel, reality, and his new collection, A Field Guide to Murder and Fly Fishing.
Join us for our ninth-annual celebration of the Short Story, as we dedicate the month of May to short fiction.
“There I was, hiding in plain sight”: Kate Southwood on the impulse to uncover the truth behind the fiction.
“Lucy’s the disturbing stone thrown into a still, dark pond”: Ellen Prentiss Campbell on Elizabeth Strout’s new novel, Anything Is Possible.
From the Archives: as the annual observance of Yom Hashoah (Holocaust Remembrance Day) approaches this Sunday, we return to a 2011 essay by Erika Dreifus on the literary kinship among fictional works from an emerging cohort of “3G” (third-generation) Jewish writers: Julie Orringer, Alison Pick, and Natasha Solomons.
“I try to write about enduring human frailties”: Paul Vidich and Paula Whyman chat about publishing later in life, family, and Vidich’s new novel, The Good Assassin.
Joshua Bodwell shares about the lasting impact Tom Perrotta’s “The Weiner Man” has made on him.
“My final suggestion is to feel free to ignore all of the above advice or any other ‘shoulds'”: Ann S. Epstein with Danielle LaVaque-Manty on self-teaching, researching historical fiction, and her debut novel, On the Shore.
“Appreciation, not vivisection, is his goal”: Julian Anderson on My Back Pages, critic Steven Moore’s collected reviews and essays, out this month from Zerogram Press.
Stories We Love: “55 Miles to the Gas Pump,” by Annie Proulx
Stories We Love: Donald Barthelme’s “The School,” In Which is Revealed the Meaning of Life
Stories We Love: "A Small, Good Thing" by Raymond Carver
Stories We Love: "The Fall River Axe Murders," by Angela Carter
capitalization as Stylistic Device
