what I’ve been reading lately:

I liked the concept of Schematics more than I liked the execution of it. It sounds so promising: the back cover describes it as a “sparse, meditative, and enigmatic narrative embroidered with schematic diagrams,” and in an essay at the end of the book David LaRocca says that “Throughout Schematics Hibbard demonstrates the persuasive power…

(Read more)

Barley Patch starts with a question posed by Rilke in Letters to a Young Poet, a question Rilke says all writers should ask themselves, namely: “Must I write?” (9) This question leads to other questions, so the book is structured as the narrator interviewing himself or explaining himself, except that the questions are sometimes so…

(Read more)

In her introduction to Berlin Stories, Susan Bernofsky notes that “while we tend to call these texts “stories,” Walser himself described them as “prose pieces”; this hybrid of story and essay remained his genre of choice for most of his writing career” (xi). The pieces are short—many are just two or three pages—and they read,…

(Read more)

In a section at the end of this book called “Thoughts on Myths,” A.S. Byatt quotes Nietzsche, who wrote about myths as “presiding over the growth of the child’s mind” (158). Byatt writes about Ragnarök, the end of the gods and the end of the world, as presiding over the growth of her own mind,…

(Read more)

Imagine the relief there’d be, in just stepping through the door of a spare room, a room that wasn’t anything to do with you, and shutting the door, and that being that. There’d be a window, wouldn’t there? Were there any books in there? What would you do all day? (44) There’s the premise, in…

(Read more)

I liked the last two short stories in this book the best, because one is a fairy tale and the other’s a spy story gone strange. Emmanuel’s style, which is sometimes dreamy but sometimes just trite, works for me when it’s playing with a genre like that: the other four stories in this book sometimes…

(Read more)