by The Editors
We’re off until Labor Day. Thank you for your readership.
“Maybe how we choose to tell the stories of our pain can allow us to turn that pain into something greater, something necessary, something that might ease the pain of others.” Karin Killian on narrative technique in Lauren Groff’s “The Wind.”
“Ethnographic fiction, and all fiction in general, depends on Kierkegaardian leaps of imaginative faith, which is not the same thing as an ‘anything goes’ world in which facts don’t matter.” JT Torres on variation and verisimilitude.
Kent Kosack on retrospective narration in J.D. Salinger’s “De Daumier-Smith’s Blue Period.”
Join us for our thirteenth-annual celebration of the short story, as we dedicate the month of May to short fiction.
With the impending release of his debut novel, The Step Back, J.T. Bushnell meditates on intersections and departures in our fiction.
J.T. Bushnell on how Michael Deagler’s “New Poets” makes us rethink an old trope: the antagonist.
“His narrator’s point of view evolves with the story, revealing this evolution through how he sees his setting”: Kent Kosack on Tobias Wolff’s subtle gem “Powder.”
Robert L. Shuster examines works of fiction that purport to be real accounts, analyzing how authenticating elements influence our engagement with stories, as well as how these techniques shaped his own debut novel, To Zenzi.
Ellen Prentiss Campbell meditates on the influence of teachers, fulfilling promises, and becoming who we’re meant to be in this homage to her teacher Sally Nash.
“The horror of the residency is not that one can’t leave; it’s that one doesn’t have to”: Nora Kipnis on Carmen Maria Machado’s version of the cabin in the woods.
“Preparatory notes are like the pre-draft visualizations athletes use to prepare themselves for a difficult competitive task. If we want rich first drafts that will throw us into robust revisions, then it’s in our best interest to be free—even profligate—with our preparatory notes.” Steven Wingate talks about managing the work we do on our tales when we’re not actually writing them.