Tin House Magazine: Sex, Again?: Vol. 18, No. 1 (Tin House Magazine)


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Sex, Again? Didn’t we just go there? Well, actually it has been twelve years since Tin House had sex, or an issue with sex, that is, a sex issue. I think you get what we’re after. Featuring fiction, nonfiction, and poetry from established writers and new voices, Issue 69 will try hard to keep it exciting and fresh, even after all these years.




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All the Living


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One summer, a young woman travels with her lover to the isolated tobacco farm he has inherited after his family dies in a terrible accident. As Orren works to save his family farm from drought, Aloma struggles with the loneliness of farm life and must find her way in a combative, erotically-charged relationship with a grieving, taciturn man. A budding friendship with a handsome and dynamic young preacher further complicates her growing sense of dissatisfaction. As she considers whether to stay with Orren or to leave, she grapples with the finality of loss and death, and the eternal question of whether it is better to fight for freedom or submit to love. All the Living has the timeless quality of a parable, but is also a perfect evocation of a time and place, a portrait of both age-old conflicts and modern life. It is an ode to the starve-acre Southern farm, the mountain landscape, and difficult love. In her lyrical and moving debut novel, C.E. Morgan recalls both the serenity of Marilynne Robinson and the shifting emotional currents and unashamed eroticism of James Salter. It is an unforgettable book from a major new voice.




I Don't Think of You (until I Do)


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A novella describing "the narcissism inherent in infatuation, exposing the awkward, disorienting state of passion, and articulating the comic nature that permeates the melodrama of our existence ... chronicl[ing] the struggles of a long-distance relationship, forming a series of unsent musings to the beloved"--




Like a Beggar


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Featured on NPR's The Writer's Almanac “Ellen Bass’s new poetry collection, Like a Beggar, pulses with sex, humor and compassion.”—The New York Times “Bass tries to convey everyday wonder on contemporary experiences of sex, work, aging, and war. Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly “In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—Booklist Ellen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness. From "Another Story": After dinner, we're drinking scotch at the kitchen table. Janet and I just watched a NOVA special and we're explaining to her mother the age and size of the universe— the hundred billion stars in the hundred billion galaxies. Dotty lives at Dominican Oaks, making her way down the long hall. How about the sun? she asks, a little farmshit in the endlessness. I gather up a cantaloupe, a lime, a cherry, and start revolving this salad around the chicken carcass. This is the best scotch I ever tasted, Dotty says, even though we gave her the Maker's Mark while we're drinking Glendronach... Ellen Bass's poetry includes Like A Beggar (Copper Canyon Press, 2014), The Human Line (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award. She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.




The Virginity of Famous Men


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The Virginity of Famous Men, award-winning story writer Christine Sneed's deeply perceptive collection on the human condition, features protagonists attempting to make peace with the choices--both personal and professional--they have so far made. In “The Prettiest Girls,” a location scout for a Hollywood film studio falls in love with a young Mexican woman who is more in love with the idea of stardom than with this older American man who takes her with him back to California. “Clear Conscience” focuses on the themes of family loyalty, divorce, motherhood, and whether “doing the right thing” is, in fact, always the right thing to do. In “Beach Vacation,” a mother realizes that her popular and coddled teenage son has become someone she has difficulty relating to, let alone loving with the same maternal fervor that once was second nature to her. The title story, “The Virginity of Famous Men,” explores family and fortune. Long intrigued by love and loneliness, Sneed leads readers through emotional landscapes both familiar and uncharted. These probing stories are explorations of the compassionate and passionate impulses that are inherent in--and often the source of--both abiding joy and serious distress in every human life.




Mostly Dead Things


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The celebrated New York Times Bestseller A Best Book of the Year pick at the New York Times, NPR, The New Yorker, TIME, Washington Post, Oprahmag.com, Thrillist, Shelf Awareness, Good Housekeeping and more. What does it take to come back to life? For Jessa-Lynn Morton, the question is not an abstract one. In the wake of her father’s suicide, Jessa has stepped up to manage his failing taxidermy business while the rest of the Morton family crumbles. Her mother starts sneaking into the taxidermy shop to make provocative animal art, while her brother, Milo, withdraws. And Brynn, Milo’s wife—and the only person Jessa’s ever been in love with—walks out without a word. It’s not until the Mortons reach a tipping point that a string of unexpected incidents begins to open up surprising possibilities and second chances. But will they be enough to salvage this family, to help them find their way back to one another? Kristen Arnett’s breakout bestseller is a darkly funny family portrait; a peculiar, bighearted look at love and loss and the ways we live through them together.




Girlhood


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National Book Critics Circle Award Winner National Bestseller Lambda Literary Award Finalist NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TIME * NPR * The Washington Post * Kirkus Reviews * Washington Independent Review of Books * The Millions * Electric Literature * Ms Magazine * Entropy Magazine * Largehearted Boy * Passerbuys “Irreverent and original.” –New York Times “Magisterial.” –The New Yorker “An intoxicating writer.” –The Atlantic “A classic!” –Mary Karr “A true light in the dark.” –Stephanie Danler “An essential, heartbreaking project.” –Carmen Maria Machado A gripping set of stories about the forces that shape girls and the adults they become. A wise and brilliant guide to transforming the self and our society. In her powerful new book, critically acclaimed author Melissa Febos examines the narratives women are told about what it means to be female and what it takes to free oneself from them. When her body began to change at eleven years old, Febos understood immediately that her meaning to other people had changed with it. By her teens, she defined herself based on these perceptions and by the romantic relationships she threw herself into headlong. Over time, Febos increasingly questioned the stories she'd been told about herself and the habits and defenses she'd developed over years of trying to meet others' expectations. The values she and so many other women had learned in girlhood did not prioritize their personal safety, happiness, or freedom, and she set out to reframe those values and beliefs. Blending investigative reporting, memoir, and scholarship, Febos charts how she and others like her have reimagined relationships and made room for the anger, grief, power, and pleasure women have long been taught to deny. Written with Febos' characteristic precision, lyricism, and insight, Girlhood is a philosophical treatise, an anthem for women, and a searing study of the transitions into and away from girlhood, toward a chosen self.




Tin House Magazine: Theft: Vol. 17, No. 1 (Tin House Magazine)


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Tin House's Theft Issue spends some time in the larcenous land of literature with stolen stories, embezzled essays, and pick-pocketed poetry. “Talent borrows, genius steals” is usually attributed to Oscar Wilde, and occasionally Pablo Picasso. There is, however, no record of either one actually saying or writing this. T. S. Eliot, on the other hand, wrote, “Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.” Theft and appropriation have always been artistic engines, and in this issue of Tin House, those engines run hot . . . Featuring new work from Laura Lippman, Kevin Young, Mary Ruefle, George Singleton, Victor LaValle, Alissa Nutting, and more.




Where the Dead Sit Talking


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With his single mother in jail, Sequoyah, a 15-year-old Cherokee boy, is placed in foster care with the Troutt family. Literally and figuratively scarred by his unstable upbringing, Sequoyah has spent years mostly keeping to himself, living with his emotions pressed deep below the surface - that is, until he meets 17-year-old Rosemary, another youth staying with the Troutts. Sequoyah and Rosemary bond over their shared Native American background and tumultuous paths through the foster care system, but as Sequoyah's feelings towards Rosemary deepen, the precariousness of their lives and the scars of their pasts threaten to undo them both.




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