BLOOD FABLE by Oisín Curran



wah! i hadn’t realized BLOOD FABLE was already out. such a blur these past few months have been that somehow i missed its release. well no matter, but this is a singular portrait of childhood by the great Oisín Curran, author of the fantastic MOPUS. here’s what i wrote about Blood Fable:

This careful and loving rendering of a child’s mind proves that acts of storytelling were once not so much vehicles for escape but instead crucial rehearsals for being. A remembrance of lost time—or maybe, to reference its Buddhist undergirding, an alaya-vijnana, a storehouse consciousness—Curran’s vision of boyhood is perfect in details and sublimely moving. Blood Fable is a magnificent double take, which—like a bistable optical illusion (duck or rabbit?) —allows two universes to coexist. A rapturous adventure tale where the very essence of adventure is subverted so that fantasy and reality conflate; this is done not for temporary trickery but to deepen our comprehension of the real.

from the great canadian press: Bookthug

RED CLOCKS by Leni Zumas


red clocks cover

there’s so much smart, non-sentimental wisdom in this, so much ferocious heart — it provided me with actual honest-to-gaia hope. i love this book.
(also the more everyone loves a book, it puts you off and you don’t want to read it, right? should you be that contrarian of my own likeness, better you read this book early so you can run point and be scene not herd. pubdate: 1/16/2018)
anthem without manipulative soar, just a hummable unforgettable tune you believe in. a feminism that’s so fundamental and organic its ambient teaching happens by osmosis, has an easy touch (except those instances which explode with perfect articulation). within its setting and near-future, there’s also a subtle abstraction so that its world hovers above, just a bit more pure than the real, so its model of reality allows us a more crystal insight into ourselves. 2018 flagship.

“Leni Zumas here proves she can do almost anything. Her tale feels part Melvillian, part Lydia Davis, part Octavia Butler—but really Zumas’s vision is entirely her own. RED CLOCKS is funny, mordant, political, poetic, alarming, and inspiring—not to mention a way forward for fiction now.”   —Maggie Nelson

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