Category: What We’re Reading
What We’re Reading: Home of the Happy: A Murder on the Cajun Prairie
A book of nonfiction written like a novel, moving with and then past the genre of true crime
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What We’re Reading: In Kind
In her debut full-length poetry collection, IN KIND, Maggie Queeney interrogates how trauma is embodied and how rebirth is necessary for survival.
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What We’re Reading: Crooked Smiling Light
Violence, King argues, is something Black men must inherit to survive even their own blood.
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What We’re Reading: Each One a Furnace
Oloruntoba manages to capture the uneasiness of living through the last few years’ quasi-apocalypse.
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What We’re Reading: Concentrate
In her debut poetry collection, Courtney Faye Taylor underscores the importance of more honest witnessing, of a history that includes all the moving parts, including ourselves.
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A Love Letter to Cli-Fi
Floods and dustbowls, hopes and fears, climate fiction has it all—and isn’t going anywhere.
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What We’re Reading: Klara and the Sun
Kazuo Ishiguro’s eighth novel stumbles in its representation of AI consciousness.
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What We’re Reading: Finding Neurokin in Madeleine Ryan’s A Room Called Earth
A Room Called Earth and other autistic narratives challenge the false pathological stories society tells about our neurotype.
Read MoreWhat We’re Reading . . . During These Times
As we work remotely, we wanted to share some reading for quarantine, to delve deep into the idea of pandemics, escape that topic, or just find something good to cook.
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What We’re Reading: Spider Love Song and Other Stories by Nancy Au
Spider Love Song and Other Stories by Nancy Au is a short-story collection about stories—how narratives can be used to construct and deconstruct lived realities.
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What We’re Reading: Fossils in the Making by Kristin George Bagdanov
In Kristin George Bagdanov’s debut full-length poetry collection Fossils in the Making (Black Ocean, 2019) it is no coincidence that “gyre” rhymes with “lyre.”
Read MoreWhat We’re Reading: To Float in the Space Between by Terrance Hayes
Making a case for what he terms “liquid poetics,” Hayes suggests that great art comes from the ability to stay loose, to change tacks, to shape shift in response to these shifting, mysterious factors. Hayes’ sustained emphasis on personal poetics as both liquid and descendant creates a way for his readers (colleagues, family, fans) to find themselves within the fluctuating matrix he proposes.
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