April 14 – 18, 2024
- The relationship between Kafka and Kurdish
- An interview with Robert Crumb biographer Dan Nadel
- What AI means for music
- Close
to the Lithub Daily
Thank you for subscribing! Support Lit Hub.
“Days were like long twilights in the house under the black walnut trees; through untrimmed shrubs screening the windows the sun scarcely shone. It was a low, white frame house with a sagging porch roof supported by two chains that through years of stress had cracked the overhang of the main roof where they were attached, pulling it downward at so noticeable an angle that everything—overhang, chains, porch roof—appeared checked from collapsing by nothing more than the tar paper over the cracked boards.”
“I had not been able to work in some months, had been paralyzed by the conviction that writing was an irrelevant act, that the world as I had understood it no longer existed,” she said. “If I was to work again at all, it would be necessary for me to come to terms with disorder.”
“The pool was bleeding. Byron noticed, adrift in shade on my shark floater: an acorn hit him on the head and he’d opened his eyes to find it bobbing in the water, ribbons of red uncoiling beneath. Came and got me and I got mom and she got dad.”
Keep or Kill: Story Structure