Mattia’s unafraid of repetition; she knows it constitutes us and forms our habitus, and that it also creates structure for other, less visible parts embedded around its scaffold—repetition as performance of self, something you wake up and enact every day.
As a reader, it’s flattering to be let in: to understand that the writer is playing with expectations, starving you a bit of plot, feeding you a ton of side dishes instead of a meat and potatoes dinner.
The story of Saint John’s Abbey Church is thus a kind of creation myth: an origin story that illustrates the advent of a new symbolic language, formed by the dialogue between liturgical and architectural forces, and forged for an uncertain moment of rapidly-emerging modernity.
I used to chug margaritas at nightclubs and whisper to blonde women. I was a large man and the mirror caused pain. I was married at the time, which makes these memories doubly shameful.
When I am sitting up in bed, which I often do, I think in terms of submersion, as if I fell through the floor.
There’s a line that says, “my mother looked better alive.” I was having a conversation with Donald and “we look better alive” just kind of spilled off my tongue.
Reason 2. Your brother is already married.
If I am going to get into your family, it’s
going to have to be through you.
Heather McCalden wants me to write about my dead father because she wants every reader of The Observable Universe, her scattered, shrewd, and heartbreaking debut, to write about their dead parents.
The shadow plane
points perilously
in the direction of
human love.
Is literature political? How about can literature use activists? If they are people too, I guess it can.
Baptize yourself in the promise that every moment might ring with the ecstasy of leftovers fitting just perfectly into a takeout carton.


