She Said Destroy is a mind-bending, award-nominated collection of short stories that speak to the horrors of home, childhood, and family. It’s the kind of stuff I wish I could write! They’re fantastical, haunting, unabashedly political, and heartbreakingly beautiful. Bulkin’s among the vanguard of new and emerging voices in horror. In my favorite story from the bunch, a final girl tames a dragon!

This is a short book in which Newman explores the changes in what the term ‘video’ means.

The term is closely intertwined with the history of television, describing first television broadcasts and then how taping was used to bridge the time differences between the American east and west coasts. The term then described the ways home video revolutionized how video was used in the private sphere. Today, we receive videos as the digital snippets we see on YouTube or the short clips we post on social media. 

I like Newman’s work in general. But this book tells us so much about TV history in the US; I find it an incredibly fascinating work.

I have wanted to check out Beatty’s work for a long time. He is in a special class of prose authors who started writing poetry like the late great Denis Johnson.

This book is a dazzling display of Beatty’s phenomenal vocabulary and ability to use words in novel ways. What truly makes the book special is the expanse of what he covers in a book of just over 250 pages. Not only is it an education on music, but the book touches on numerous important themes.

Beatty brings a freshness to describing the city of Berlin, which feels both unique and accurate. Perhaps most pleasurable is Beatty’s quirky sense of humor, which he displays on nearly every page.

I cannot recall reading a book that made me laugh out loud as much as Slumberland. Now that I have read Beatty, I’m hooked, and I plan to read the remainder… show more.

The title story of this brilliant collection is a very funny alien invasion story told from the point of view of a woman who is convinced that the invasion is all about her. The other stories are similarly quirky and delightful.

The late Carol Emshwiller was a groundbreaking visionary writer who began publishing her funny, intriguing, unusual work after she was 30 and had to pry writing time away from the demands of her growing family.

When necessary, she would empty out the playpen in her living room, get into it with her typewriter, and work on her fiction while her preschool children enjoyed the freedom of the apartment. She was known for avant-garde approach, unreliable narrators, quirky humor, and a liberal, feminist outlook. 

Recipient of the Nebula and the  Philip K. Dick Award. The late Ursula K. LeGuin called her "a major fabulist, a marvelous magical realist, one of… show more.

When I first read this book, I wanted to be the protagonist, Sam Jones. Sam is bold, confident, and very sexy, has numerous vibrant, arty friends, owns a wardrobe of fabulous outfits, and is never far from trouble.

She’s a sculptor who turns unofficial investigator when a dead body turns up at the theatre where she’s been commissioned to create a series of mobiles for a stage production.

When not solving crimes, her life is a round of making art, complicated love affairs, drinking cocktails, and going out clubbing. I love her dry wit, strength, and self-deprecating humor.

Derek Jarmon was a British avant-garde filmmaker, theater designer, and life-long gardener. In the last decade of his life, he built a new garden at a tiny house by the sea in Kent. Prospect Cottage sits on the shingle expanse overlooking the Dungeness Nuclear Power Station and the English Channel. It was an accidental garden, this arrangement of rocks and driftwood, flowers, and found objects. The book sings. Jarmon’s musings and poems wind through a small volume of 140 pages; there are 150 photographs. It is a book about why we garden, how to live, and how to die.

I’ve been intrigued all my life by the women on my mother’s side of my family who were artists and writers. How did I fit into that familial line, and what could I learn from them?

Honor Moore’s investigation into her artist grandmother’s life drew me into her own examination of that question, and I was deeply moved by her mission of reviving her beautiful, brilliant grandmother’s reputation as an artist while offering an honest assessment of how societal pressures affected her mental health and problems with alcohol abuse. 

I am recommending this book, because it is the first edited volume, and, really, the first academic book to directly engage black popular culture as a field of study. It was avant-garde. It gave a name to cultural productions that, at that time, during my first semester of graduate school in 1997, I had no idea had a collective name. I love this book, because I encountered it simultaneously to learning concepts like “high” and “low” art. The book, in my opinion, made a compelling argument for why the popular, the folk, the vernacular, and so-called “low” art matters.

I love the sheer simplicity of this novel's theme and the chaos a simple act can wreck. The novel begins with the main character deciding to shave off the mustache he has had for more than a decade while his wife is out. When she returns, she says nothing about the missing mustache. When he brings it up, she denies he has ever had a mustache. Likewise, friends and colleagues say the main character never had a moustache. 

Things get worse from there. The novel raises questions about identity, trust, and memory.

As a writer, I am always pondering the question of how our lives inform our work. As one of my fellow writers, Melissa Ostrom, put it, our experience is the rich compost from which we form our fictional narratives. To use a Freudian dream analogy, I like to think that our lives are the “day residue” of the work—elements from daily life show up in different contexts or transformed in some other way. The twentieth-first century has witnessed an explosion of so-called auto-fiction, fiction that more consciously underscores this process of transforming life into art—think of the work of Ben Lerner, Rachel Cusk, and Karl Ove Knausgard. This recently-released anthology, edited by Caitlin Forst, features work by established writers as well as new voices that interrogates the relationship between writer and text, between art and life.