Each of us finds a way to cope with the hurdles and pain that life throws our way. Some turn towards their work, others to more destructive means. Then, there’s Josh Denslow. In his collection of stories Not Everyone is Special, Denslow covers a range of topics with his characters: from being a child of divorce, to being a survivor in the aftermath of a friends’ suicide, to being a little person in today’s world. His approach is to use humor not only to build up the narrative in each story, but show how people use it as a form of self-preservation and self-defense in ways that are true to real life, even when he is putting a character in a world where people have superpowers like being able to get the wrinkles out of shirts by patting them down with their hands or extending and retracting their facial hair in real time.
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Imagine the sun setting in a not-so bustling Rome—a glass of Limóncello and fresh risotto in front of you. Your table is small with intricate iron wrought detail, and the world is quiet. There’s a slight summer breeze and a whispering guitar, maybe two, in the background. You can almost hear each wish as it meets the surface of the Trevi Fountain.
Mark Rader transports us, sans jetlag, to a past world of desire and love lost in his unconventional romance novel The Wanting Life. We travel from Cape Code to Italy to a generationally familiar town in Wisconsin, navigating the hearts and minds of Rader’s characters and the threads that pull so heavily on their spirits.
In Katya Apekina’s novel The Deeper the Water the Uglier the Fish, relationships are used to emphasize characterization and create drama within the story. In particular, the novel examines father-daughter relationships, mother-daughter relationships, husband-wife relationships, and artist-muse relationships. Told through numerous first person accounts in the form of narratives, letters, phone conversations, and interviews, Apekina provides the reader with an in depth, up-close look at the intimate intricacies of these relationships and their meanings. The unique structure of this novel allows the reader to see each character’s internal and external struggles and conflicts. These accounts in various forms help create strong characterization and drama within the story.
Genevieve Hudson captures the comfortable in the uncomfortable. Her collection of short stories, Pretend We Live Here, centers on characters looking for home in places, in people, in their own bodies. No matter where her characters roam, readers are confronted with the violence inherent to existence through her sharp-edged but haunting, sometimes even joyful, prose.
The first chapter of Jeffery S. Markovitz’s new novel contains just two words: He died.
This short statement is startling, but not altogether surprising for a story that centers around the events of World War II-era Germany, when death came for millions. In two short words, Markovitz not only sets the tone for the rest of the novel, but also lays the groundwork for a well-crafted twist at the end. The words reverberate as we are introduced to each new character, wondering, Is it him? Is he the one who died? |
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