I think in the literature that I've read, sight as a bit of a metaphor for knowledge, for awareness, and for identity, is pretty well suffused and embedded into this collective recognition.
I definitely take inspiration from the skies, like I mentioned, flowers, even food: strawberries, raspberries, those kinds of things.
I wanted to bring water into these places that are sterile or dry or drought-ridden.
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!