~ from the short story "I Am the Voice Calling in the Desert"
“What on earth are you playing?” my mother asked one afternoon when she stepped out into the yard to hang up the wash. I was barefoot, streaked with dirt, and I’d torn my shirt.
“John the Baptist,” I said.
I must have been quite an affront to my mother in that moment. It broke her heart that I could never manage to keep bobby socks from slipping down and getting sweaty and crumpled in my shoes, and here I was, looking for all the world like a mental patient.
“John the Baptist wasn’t a girl,” she said, reasonably. “If you set your dolls up on the patio you could play school.”
I shrieked and ran around behind the garage where I could kick up dust and preach my sermons in peace.
"In The Paper Life They Lead, Patrick Crerand takes risks in his storytelling, and the result is an inventive collection. In this slim book of just over 50 pages, Crerand’s mixture of flash fiction and slightly longer stories drops the reader into bizarre and unexpected places. Fantastical events occur even when the world looks much like the one we live in. The interesting and weird premises are stated upfront allowing the reader to focus on the characters—their relationships and how they react to the situations they are in."
--Emily Webber, SmokeLong Quarterly
Read the full review here.
Caroline Leavitt, author of New York Times Best Sellers Pictures of You and Is This Tomorrow, says Patrick Crerand's stories "knocked her striped socks off."
"These stories are so jaw-droppingly unexpected. They actually remind me of Dan Chaon's stories, the matter-of-fact way that you guide us into deeply strange territory."
Read the full interview here.
We are delighted to see Patrick Crerand's The Paper Life They Lead: Stories receive honorable mention in the Writer's Bone year's best list.
Read their full list here.
We're late with this post, but Michael Czyzniejewski reviewed Patrick Crerand's The Paper Life They Lead: Stories on Story 366, saying "Crerand's choices become the real art here, his ability to make them work so convincingly. A story with a premise like [life on a Pepperidge Farm box] could be merely a joke in the wrong hands, but Crerand's commitment steers him clear of all of that, into much better territory, much more effective fiction."
See the full review here.
We made another minibook! J. David Stevens wrote it; Alban Fischer designed the cover; HV Cramond proofread it! Pre-order begins on Wednesday, January 23, and the first copies will be shipped on Tuesday, February 5.
Laura Krughoff is the author of the short story collection Wake in the Night and the novel My Brother's Name.
Q: You spent a lot of time living in different parts of the Midwest, and while not all of your writing is set in the Midwest, those that don’t have specific settings often feel Midwestern. I even found a quotation from David Kaplan at Loyola University Chicago who compared your writing to the Midwest when he said, "This struggle for identity, self-definition, a place in the world, is another strong feature of her work, all captured in prose as spare and haunting as a Midwestern winter." How has the Midwest shaped your view of your characters and story?
I do think of myself as deeply Midwestern. I’ve spent all but the first three and the past four years of my life in Indiana, Illinois, or Michigan, so the landscapes and people and politics and pace of all those states have shaped who I am. You asked about how the Midwest shaped my notion of story and character, and I see I answered by saying how it shaped me, but maybe those are the same question, in some ways. I think the wide, flat stretches of land and sky in the Midwest are really beautiful, but it takes a certain kind of looking to see it. On a walk with my mom once, when I was a teenager, she said, “The clouds are our mountains,” and that has stuck with me. The beauty of a cornfield and a blue sky crossed by contrails isn’t as dramatic as the beauty of mountains or oceans or the geological or ecological exuberance of other parts of the country, but it’s its own kind of beauty nonetheless. I guess that appreciation of subtlety shows up in what I think constitutes enough drama for short story quite often.
The four stories in J. David Stevens’ I and You focus on immigrants and their families, characters trying to find the merge point between the China of a previous generation and America today. A teenage son puzzles over his father’s obsession with American football. A Texas lesbian falls for an international graduate student. A divorced middle-aged woman tries to right an old wrong in the life of a man for whom she serves as caregiver. Through episodes where intimacy falters in the face of palpable distance, characters must confront unknowable details in the lives of even those closest to them: parents, lovers, confidantes. These are ghost stories of a kind, tales of what was lost and what was let go during the cultural journey from East to West.
“Sometimes Mrs. Lu chooses the words. ‘This,’ she says, sketching a broad figure, ‘means honesty.’ She makes a few more strokes. ‘This is wisdom. This is grace.’ She paints in both the clerical and cursive styles, one all block and orderly, the other smooth curves—controlled wildness. I like them both. She shows me the basic figures to practice. My name. Numbers one through ten. Words she believes to be elemental.
She likes the word ‘harmony’ especially. In Chinese, she explains, there are many different symbols for the one English word, depending on how it is meant. She covers a canvas with symbols, straight lines that cross and mesh and skate outward from one another. ‘This means how earth and heaven fit together,’ she begins, pointing at a symbol then arcing one arm toward a window to take in everything that we see around us. ‘This means harmony in your home. And this means harmony like music, sound.’ She jumps from figure to figure. ‘A legal agreement. Lots of money. Good terms with another person. Two nations at peace.’
It is as if each word has its own story to tell. Not like English, where words are like dialing a safe. Hit the right combination and the meaning opens for you, does its job, but it’s all mechanical. With Mrs. Lu each word has spirit, a life created for it from the first time it was drawn. I stare at the sheet she has made. I would like to tell her that I will remember all of the meanings. But in the end we both know that I will take the sheet home and fail to practice and return the next week, having forgotten everything. It is unfair. I wish I could tell Mrs. Lu what the figures mean to me—that I see their story, the one I make up, an old language I am rewriting to fit what I must say.
‘It took thousand and thousand of years to make these words,’ Mrs. Lu observes, to impress upon me the gravity of the skill I would master. But I doubt I have that kind of time.”
~“I and You”
Cover Art/Design: Alban Fischer
Thursday Nov. 29, 6:30 PM at King's Books, 218 St Helens Ave, Tacoma, WA
Join us as we celebrate the release of Laura Krughoff's new story collection, Wake in the Night, with a reading at King's Books in Tacoma. Laura will by joined by Renee Simms and Suzanne Warren.