Zachary Barnes The Office of Historical Corrections is Danielle Evans’ newest collection of six short stories and a novella. These stories are wonderfully varied, with settings like a life-sized...
By Timothy Johnson I recently read Josh Malerman’s Malorie, the sequel to his 2014 Bird Box, which Netflix turned into a successful film in 2018. I like a good horror tale, and over the last few...
Michael Fulop There is so much green in the summer.It is like a book with green pages.And on the pages a script of green writing.The words at first are difficult to make out. But then you see.The...
By Sarah Wilson I first met Alysia Li Ying Sawchyn for coffee just over three years ago. She had just finished her MFA and moved back to the DC metro area. We were introduced by a mutual friend who...
Lena Crown On my dining room window, there’s a paint smudge at the center of the third pane of glass. Before quarantining for eight months, before gazing out that window each day at the same thin...
Millie Tullis Mary Jo Amani’s ecstatic poem “Rapture” remained with me long after my initial reading. I was so grateful to be able to share this powerful poem with our readers in issue 49.2....
By Melissa Wade I stare at the rain pouring down from the clogged gutters outside my window, realizing I have yet to talk to another human today. I asked my dog if he wanted to go for a walk, but it...
By Kevin Binder The question “Am I done with this story?” is one that almost all writers will ask themselves at some point during their careers. In a previous blog post, we asked established...
By Melissa Wade Justin Cronin, writer of The Passage, no longer writes short fiction. He said the form is incompatible with his temperament. His successful trilogy, by way of proof, clocks in at over...
From Issue 36.1 Danielle Evans Eggs. They wanted eggs, and their requests came trickling in daily in ten-point type, through the want ads of the campus paper. Five, ten, fifteen thousand you could...
