DeLillo’s signature postmodern discomfort is a bad fit for a book that claims to offer “mysterious resonance” with our current, tumultuous moment. In a time when we lack human warmth and connection, perhaps more than ever before, DeLillo’s dissociative nightmare feels ultimately cartoonish and unsatisfying.

In Marie-Helene Bertino’s new novel, Parakeet, an unnamed bride stands before a traditional threshold—marriage to a man—but the plunge she ends up taking is far more subversive. Following the advice of a talking bird, who the Bride recognizes as her dead…

Yours, Jean initially presents the reader with a seemingly placid world populated by average people who find their values tested by unexpected circumstances and look for ways to solve their problems that are outside the bounds of expected behavior. This is an all too familiar notion in a country where innocent people are killed by those who are supposed to protect them, and where justice is rarely done.

After I got an agent and published my first novel, Orchid & the Wasp, I started writing short stories… but then I went back to this old manuscript—The Wild Laughter. I tend to throw things away, I burn notebooks when I'm finished with them. I hate the idea of unfinished work being kept because, to me, deciding what you want to try and publish—and delete—is a big part of the writing process. But there had been something in The Wild Laughter that I felt should exist.

To “stet” is the act of making a textual change and then changing it back and so on and so forth. In the spirit of “stetting,” Stet also acts as a means of reinventing language, just as Malech attempts to reinvent her own voice through this collection.

“When I built my first stretcher, it was like finding a big surprise. It let me reinforce what I had been doing with painting, which was playing around with points of tension, ideas about the canvas as a fabric, as something I could manipulate and explore different possibilities with, not just within the gallery but also with the rectangle. Painting didn’t have to be just rectangular—I really wanted to challenge that.”

Samuel Johnson’s Eternal Return demonstrates how beginning with a familiar object of interest (a quirky nineteenth century novel, for instance) can lead—if followed rightly—to a site of novelty and abundance.

. . . a collection of flash fiction detailing the rich, diverse inner lives of mostly Malay Singaporeans, through which Alfian Sa’at dismantles the monolithic caricature of what a Malay is or ought to be.

Self-described on Twitter as a “queer mutt poet,” Mann’s poetry tangles with corporate culture, queer identity, and ownership. His new collection, Proprietary (Persea Books, 2017), treads water familiar to those who have followed Mann’s work in his previous…

So often Snediker’s poems parse the speaker’s lone-/someness even as they parse syntactic units blown across the page. The space created in each poem is deeply felt, the absence between each word a phantom limb.