(photo by Merida Kuder-Wexler)
My short story “Your House, Any House. That House” was published in Crooked Houses, a new anthology from Egaeus Press. The story was heavily inspired by the house in Yellow Springs, Ohio, where I grew up, which was burned down by the fire department (as an exercise) when the Village expanded Gaunt Park. (I am also writing a memoir about that house.)
The first printing of Crooked Houses sold out immediately, but the press plans a reprint in January 2021. It’s a great table of contents, and I’m honored to have my story included.
(May you be free from suffering and the root of all suffering. May you enjoy happiness and the root of all happiness.)
In the flurry of last year, I neglected to announce that THE BOOK OF FLOWERING from Egaeus Press is officially available to buy, here. My apologies for the delay! It’s a beautiful book, inside and out. My story “The Only Flower That Mattered” is included between these covers, and if you have the means, I hope you will consider supporting this lovely small press.
Below, you can read the first page of my story. I know you’ll want to read more!
(trade paperback, weird.)
Exciting news—Year’s Best Weird Fiction, vol. 5 (in which you can find my story, “Curb Day”) is available for pre-order. This is the final installment of YBWF from Undertow. (You will not want to miss it, because soon, you’ll really miss it.)
I’m exceedingly grateful to Robert Shearman and Michael Kelly for their support of my work, and for curating this anthology of endearing weirdness.
Please support this wonderful small press!
You can order the hardcover here, or the trade paperback here.
Or from Amazon.
(hardback, also weird.)
Congratulations to Michael Kelly at Undertow Press! His anthology, Shadows and Tall Trees 7, won the 2017 Shirley Jackson award. I’m so thrilled to be part of the weird things they’re doing at Undertow. (This volume contains my story “Curb Day” which was also selected for Year’s Best Weird Fiction vol. 5.) You can find the anthology here.
Today is publication day for Shadows And Tall Trees 7 from Undertow Publications! You can support small press publishing and read some weird stuff by shopping here, and you can also find it on (that gargantuan online book seller). Gorgeous cover art and weird words inside, whichever edition you choose.
(My story in the anthology, called “Curb Day,” was inspired in great part by Junk Week in Yellow Springs, which is coming up next week…so it’s timely if you live in my little town.)
Today’s reward for grading student work: Get up and go to the mailbox and see that Shadows And Tall Trees 7 has arrived. Turn to page 205 and see the story you wrote!
(I’m so grateful to have my story “Curb Day” among these pages. Thank you, Michael Kelly. You can buy a copy of this great anthology at Undertow Publications in hardcover or paperback.)
I’m thrilled to announce that my short story “Curb Day” was accepted for Shadows and Tall Trees 7, forthcoming from Undertow Publications. It’s particularly exciting to me because, as I blogged here, in writing this piece, I adapted a process from Lynda Barry‘s process…and it was such fun to dig through compost from last spring’s embryonic essay about junk week and turn it into a story. I’m grateful to Michael Kelly at Undertow for accepting the results. Shadows and Tall Trees 7 will be available in March 2017.
(When I woke up, I knew today felt weird…now I recall why.)
It’s the official release day for Year’s Best Weird Fiction, vol. 3. Thanks again to Michael Kelly and Simon Strantzas for including my story in this shimmering anthology! Check it out here.
When the actual world isn’t weird enough…this anthology might be. Year’s Best Weird Fiction volume 3 is now available (and it’s lovely)! Still, again, eternally grateful that my story (“Rabbit, Cat, Girl”) was chosen for this anthology. For more information, go to Undertow Publications.
I have been thinking in a very gestural and unscientific way about how poems, short stories, and novels are similar and different, both for reader and writer.
Something comes to mind about pacing, tempo, and where to break things.
When working on a novel, finding the right chapter break is crucial. It’s also important to think about where to end paragraphs. Is the question of where to end paragraphs even more important in writing short stories? And decisions about line breaks, even in the very occasional poems I’m working on, seem similarly intuitive and challenging.
I am not claiming that sentences, or words, are not crucial in novels. But there does seem to be a point of comparison among the forms, with the question of chapters, paragraphs, and lines, and where to break them.
Now the question is: how to end this post?