Colin Barrett’s Debut Novel ‘Wild Houses’ Unfolds Predictably
The narrative in Colin Barrett’s debut novel Wild Houses unfolds predictably, without much in the way of plot twists or surprises.
The narrative in Colin Barrett’s debut novel Wild Houses unfolds predictably, without much in the way of plot twists or surprises.
Alexis Soloski’s Here in the Dark illuminates the act of performance (no matter the stage) and the notion of stepping into and out of one’s personhood.
Below the surface clutter of its frenetic plot line, The Sterns Are Listening deftly deals with dwelling ‘peacefully in doubt’.
Physicist Ulf Danielsson’s The World Itself pins the powerful, slippery imagination and its impressive ideas about consciousness to matter’s messy, impermanent state.
David Duchovny’s novella The Reservoir drifts into the murky depths of the fever dream state of isolation and dislocation.
Emmy-winning actor Michael Imperioli’s debut novel, The Perfume Burned His Eyes seems at first a coming-of-age tale, but its tumultuous thralldom is a swift current.
Hypochondria, obsession, and confusion set the rules for a love affair in Jenny Bitner’s excellent debut novel, Here Is a Game We Could Play.
The uncontrollable violence of the natural and the supernatural in Celtic Legend take to the wing in Emma Seckel’s debut novel The Wild Hunt.
Poet and short fiction writer Amy E. Casey’s debut novel The Sturgeon’s Heart explores identity through hiding within life’s tricky currents.
Julia Armfield’s Our Wives Under the Sea seamlessly blends mystery, gothic horror, dual narratives, looping time, and multiple genres into an enchanting whole.
Missouri Williams’ ‘The Doloriad’ is a perverse tale of human remnants scratching out a bare survival like a lone pine twisting out of a stony cliff.
Andrew Lipstein’s Last Resort takes the business of publishing to the very edge of the writer’s limit.