“I kept being both exhilarated and creeped out as all these things I’d written into early drafts, and that I thought were either totally fantastical or very far in the future, kept being released onto the market: iPads, self-driving cars, and new things all the time. Last month, it was an electronic headband that stops migraines. My book kept morphing from science fiction into reality.”
The first page of Anna Whitwham’s Boxer Handsome is what you might expect from a novel about boxing. The protagonist, Bobby “the Yid,” squares off and fights Connor, “the Gypsy Boy.” The scene’s vocabulary belongs to the ring: skip and spar, bags and pads.
“I hate this whole argument about realism, surrealism; this whole genre question. To me, it’s all kind of the same. I think of all writing as a form of communication. Sometimes you can communicate the thing you’re trying to communicate by writing a piece of nonfiction. All art is some form of communication. Sometimes you communicate it by writing a piece of fiction. Sometimes you can only get at an emotional truth by making something up.”
While using wit to poke fun at the tension between conceptual planning and actual living, Horvath’s ‘Case Studies’ also ask us to seriously question the shifting definition of cities themselves and the ideologies underpinning the ever-growing debates over how they should be structured and governed.
The opening paragraph of Why Are You So Sad? posits the existence of one Raymond Champs who wakes in bed on an average morning in his average Bay Area life and declares a bad case of the blues: “We are all symptoms of a grieving planet.”
A new review of books focused on debuts, translations, and all works that would otherwise go undetected. It is a collaborative of authors, translators, and reviewers bound by one purpose: to contribute to the dialogue of literature.