They're a more picturesque version than what they really are, and it's just capturing one singular moment in time.
It’s not a question of good guy bad guy so much as a question of whether these people give each other what they need.
When I picture a flash fiction story done well, a story that's getting so much across in this tiny space, I imagine a little snow globe or something that's bursting with how much is going on inside it.
I feel like when you write flash, you're giving something to the reader, like an electric shock.
Something about flash fiction and short fiction is just so ripe with experimentation and with breaking boundaries and for kind of completely turning on its head what a story can look like.
A few weeks ago, I sat down (virtually) with short story writer Jen Fawkes to discuss her debut story collection, Mannequin and Wife: Stories. We talked about the origin of her writing career, the ocean, and her goal of capturing the spectacular mundanity of everyday life through fiction.
Read the transcript of our release party for Berkeley Fiction Review Issue 40, which took place on April 30th via Zoom!
“Spent” came like this—from a feeling, the remorse of only having one life to spend. Even if we hold love in armfuls—real love, true love, good love—there will always be a life you can’t be living, a timeline you’ve left behind.
In the most recent issue of The Kenyon Review, international editor John Kinsella says that “there’s a drive, an enthusiasm, and a shout-out in Australian writing at present that demands it be heard.” Writer Michael Caleb Tasker has lived in Australia for fifteen years and, though not a native of the continent (a problematic phrase itself), he is, I believe, proof of Kinsella’s claim.