Here’s the latest from Atticus Review author alumni…
April Ford’s debut novel, CAROUSEL, made its way into the world this May thanks to Inanna Publications. Set between Montreal, Quebec and various American cities, CAROUSEL is a story about secrets — secret yearnings, lives, and losses — and the measures we take to protect our loved ones from the monsters we see ourselves to be.
As seen on Atticus Review: Cuissade, Pompier, Baby
Mia Herman has a poem titled “First Trimester Miscarriage” in the current issue of Third Coast Magazine (@thirdcoastmag). Check out the issue here.
As seen on Atticus Review: How to Explain the Breakup to Your Overbearing Mother
Jen Fawkes’s debut book, Mannequin and Wife: Stories (LSU Press), released on Sept. 2, 2020. In addition, her story collection Tales the Devil Told Me won the 2020 Press 53 Award for Short Fiction and is forthcoming in May of 2021. Excerpts from Mannequin and Wife are in The Rumpus and forthcoming at Lit Hub (9/25). Jen recently wrote about books, time, and book-time for The Rumpus.
You can order Mannequin and Wife from LSU Press.
As seen on Atticus Review: We Can Learn from the Sawhorse
Susan Buttenwieser’s debut short story collection, We Were Lucky With the Rain has just been published by Four Way Books. It includes Translucent Ghosts and several other stories that were first published by Atticus Review.
As seen on Atticus Review: Translucent Ghosts
Tex Gresham’s first book, Heck, Texas, was officially published on September 4th 2020 by Atlatl Press.
The back copy is this: “Somewhere deep in East Texas, the hunt is on, fueled by self-hate, cough syrup, white whales, massive zits, freakshows, madness, dead pets, lost children, killer coffee, rats, Satan, good times, bad people, vomit, dementia, diarrhea, sex, and clowns. Your favorite brand of disease is back in stock. Welcome to Heck, Texas.”
As seen on Atticus Review: How Does Your Light Shine
Jessica Fordham Kidd’s book of poetry Bad Jamie was published on September 1, 2020 by Anhinga Press.
The poems in Bad Jamie create a magical realist family saga. The hapless title character stumbles through an existence in which ex-wives and daughters become mountain lions, grandmothers become woodpeckers, the dog doesn’t believe in the postal service, and magic seeps from low, old mountains, chocolate pudding, and a falling down house.
As seen on Atticus Review: Bad Jaime Stumbles into Song
Mark Crimmins (“Last Night at the Dead Goat,” 10 November 2015) published his first book in Australia this summer, an experimental travel memoir in flashes, Sydneyside Reflections. The book was published by Adelaide’s Everytime Press on 10 June 2020. Everytime Press editor Matt Potter describes it as a ‘unique and intrepid’ travel memoir, and Governor General’s Award winning Canadian poet Richard Greene assures readers that the book’s ‘superb prose’ is ‘a joy to read.’
The memoir is a minutely detailed account of Crimmins’s ten-day stay in Sydney in 2019 and graphomaniacally documents his movements around the harbor city. The book’s influences are cosmopolitan, but Crimmins names two in particular: Jay McInerney’s Bright Lights, Big City and Nicholson Baker’s The Mezzanine. As Crimmins tells author and editor Michelle Elvy in an interview published in New Zealand’s Flash Frontier magazine, his Sydney memoir is actually one in a multivolume series of experimental memoirs, each one covering a different journey or place: an American road trip, a sojourn in Cambodia, a trans-Scandinavian journey, a visit to Seoul, a psychogeographical tour of Tokyo, a journey to three ethnic minority ‘kingdoms’ in China, etc. Sequels to the Sydney memoir became Coronavirus diaries set in Chiang Mai, Shanghai, Tokyo, Hong Kong.
No other volume has been published yet, but the author hopes to publish them all eventually. Crimmins describes his memoir technique as experimental, hybrid, and ‘heterotopographic.’ He often writes on location: in parks, on beaches, in cafes, riding in crowded subways, balanced on hoodoos, sequestered in temples. His memoirs fall into the relatively new category of autofictional life writing. Crimmins’s numerous published flash fictions, too, often straddle the fiction/nonfiction boundary, providing a link between his fictional work and his memoir work in a creative nonfiction genre he calls ‘the new diarism.’
As seen on Atticus Review: Last Night at the Dead Goat