Let Me Tell You is a collection of thirty short stories–twenty-two of which never made it into the public sphere–and twenty-six snippets and essays which encompass the body of Shirley Jackson’s work.
When I started this series back in July, my plan was to write about a single Ploughshares story in each post, focusing on what each story might teach us about writing fiction. That a pattern in my story choice would emerge was unexpected.
We are a world awash with conspiracy theories, but what resides in the hearts of those behind the actual conspiracies? In her flash fiction piece, “Wind on the Moon,” Katie Burgess explores the internal struggle of a governmental doctor of spin.
Perhaps I’d brought Heart of Darkness to court with me not as reading material but as a talisman, as a symbol of what I believe literature has the power to do.
In “Restoration” (Carve), Ann Joslin Williams shows how a widower’s memories and the discovery of a dead body conflate in the present moment, to dramatic effect.
A discussion with Jonathan Jacob Moore regarding Frank Ocean, blackness, queerness, presence/absence, music, and Moore’s recent poem “frank ocean and all black things that disappear on their own.”
“We live in a late-capitalist situation where if something is not worth money then culture says it’s not worth anything at all.”
Jamaica Kincaid’s classic story “Girl,” first published in the New Yorker in 1978, is a small gem, consisting of less than 700 perfectly chosen words. We can see the echoes of Kincaid in John Keene’s story “Acrobatique” even though the story was not written intentionally to respond.
Miss Lonelyhearts & The Day of the Locust is a rare set of novels that only becomes more accessible as time goes by, reflecting the facets of human nature that have only become more prevalent in the eight or so decades since the collection was first published.
No products in the cart.