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What We’re Reading

Nanci McCloskey (Director of Publicity and Rights, Tin House Books): I just finished Gone Girl by Gillian Flynn. I loved the voyeuristic peek into a relationship, and the unreliable narrators. The turn in the book left my heart pounding. I am also about halfway through Sheila Heti’s How Should a Person Be. Too early for a verdict.

Rob Spillman (Editor of Tin House): Bouncing between Joe Wenderoth’s Letters to Wendy’s and Stanley Fish’s How to Write a Sentence. Somehow they are playing off of each other. Wenderoth’s unclassifiably weird poetry/fiction hybrid seemingly violates every rule in Fish’s essential primer, but oh, so skillfully and beautifully.

Desiree Andrews (Editorial Assistant, Tin House magazine): I just started Wise Blood. The winter in Portland somehow makes me want to wrap myself in Southern Gothic and so far it’s working out just fine. I’m always a sucker for a crisis of faith story and this one, with it’s cynical characters and dark humor, is hitting the mark nicely. How can you go wrong with Flannery O’Connor?

Masie Cochran (Associate Editor, Tin House Books): I recently finished Jill McCorkle’s Going Away ShoesI’ve been a loyal fan of McCorkle since her first books July 7th and The Cheer Leader, and again she didn’t disappoint. The women in Going Away Shoes are rarely in good situations or with very good men, but McCorkle is savagely funny and never dips into sentimentally. I just started Jon McGregor’s collection, This Isn’t the Sort of Thing That Happens to Someone Like You. I’m three stories in, and if he keeps it up, it may be one of my favorite collections of the year. I’ll keep you posted.

Shannon McDonald (Publicity Intern, Tin House Books): I just started Battleborn, the debut short story collection by Claire Vaye Watkins. Physically, it’s a beautiful book—the cover is so striking, and I keep carrying it around and pressing it into people’s hands, telling them, “Look. Look at this book.” Granted, most people find this a little intense. But! So far, the stories don’t disappoint. The characters feel as though they were carved directly from the hard Nevada landscape—the most constant and connective aspect of the collection. Although she’s writing about a real space, Watkins still makes it her own. It’s deliberate, grounded, a little bit rough, and just as the cover suggests, gorgeous.


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