Elisabeth Ring

‘Rednecks’ A Timely Historical Fic but Lacks Nuance

Cover of Taylor Brown's Rednecks, featuring a vista of West Virginia woods and mountains with a hole torn in the middle. Through the hole, we can see the paisley print of a red bandana.

Brown’s heroes are always good, while the villains are always villainous. This lack of nuance is a missed opportunity to tell a story more relevant for our current moment.

‘Grief’ a Multifaceted Examination of Sorrow

Upon a light orange background, the title and author are in underlined purple all-caps text that looks as though it has crumbled all to one corner.

Crosley’s writing brings the events, and her emotions, to life, and helps make her every action and reaction reasonable, even, and especially, when she knows they’re not. It is that prose-level finesse, not the subject matter, that helps keep this slim volume feeling relevant even when it occasionally strays into self-indulgence.

The Ordinary Dazzles in ‘Blue Sky’

The cover of Blue Sky Through the Window of a Moving Car, which features the title and author on a backdrop of, well, a blue sky marred only by a few powerlines and a bit of green tree.

Blue Sky is a reminder that there are hundreds of ordinary, magical moments that happen all around us all the time, and instead of being overwhelming like…(gestures vaguely), it’s really kind of remarkable. And it is, it really is.

The Apocalypse Grows Strangely in ‘The Garden’

Flowers and greenery splay across a bubbled surface of glass or thin ice as a background to the title and author of Nick Newman's novel The Garden.

The Garden is as much about the testing, and mending, of a sisterly relationship as anything else. The apocalypse is merely a reason for their cloistering, and the reckoning they face with each other.

‘First Love’ Considers Friendship in its Many Forms

The title of the book (First Love: Essays on Friendship) and author name are superimposed on a photograph of three young fair-skinned girls, one of whom is the author, smoking and laughing on a fire escape.

While her takes on friendship may come from places of personal specificity, they nonetheless find broad resonance in how I think most of us have thought of friendship, even if unconsciously.

‘Horror’ Examines the Shadow of Genre – and Within

There’s no horror in a vacuum, Horror Movie seems to be telling us, and the way we ingest and interact with it says as much about us as the content itself.

New Story Published in Pulp Asylum!

Against a wine-red backdrop is a hooded figure wearing a mask that is flat and featureless except for two round eyes. The magazine name, Pulp Asylum, is in the lower-lefthand corner, while the upper right corner features the five names of the issue's authors.

My spooky little flash story “Safe and Warm” is now live in the newest issue of Pulp Asylum!

‘Beijing’ May Sprawl, but the Stakes are Personal

The cover of Beijing Sprawl, featuring an olive-green background and a series of about 17 bold-type "Beijing" stacked down like a deck of cards. "Sprawl" sits below the stack.

The stories within Beijing Sprawl aren’t cozy or happy, necessarily, but they feel like they capture a moment of life that will become nostalgic, and that growing nostalgia bleeds through the page.

Despite Unevenness, ‘Deer Woman’ a Compelling Read

The disjointed nature between the flowing river of words and characterizations afforded Starr and those she comes into contact with versus the gravel pit given to the villains makes Deer Woman feel at times as though it had been written by two authors taking turns, or composed of two different manuscripts shuffled together.

‘Death’ Asks Timely Questions with Robots

Death of the Author has a lot to say about art, its creation, and those who make it for us that is more relevant than ever.