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No description available.

THE BURTS is a short novel.

No description available.

In the days following her grandfather’s death, Caroline Donovan could not shake him. Images of him flooded her mind while she was grading papers or shielding her face against a whip of late autumn wind, walking from the university to the T station. His stubbled face from below when she was child, the one arm draped over the back of his kitchen chair, his frame hunched beside the nursing home window, fists involuntarily clenched until the fingernails dug into chafed, bleeding palms—these hid in memory, and then sprang-up.

Bad Sex is a draft of a novel.

Snow is a draft of a novel.

This is a draft of a novel. The story is about a young woman living in the 10’s who works a gig job as a dog walker.

This is a triptych of three novellas. Ideally it is a summoning ritual for revolutionary consciousness, a banishing ritual for depersonalization, nightmares, cops, realtors, the onrush of global fascism, the great, clawing dread of thinking rationally about things yet to come. It is a mythopoesis. Its subject is the transmigration of souls. Loverboy Under The Knife was inspired by “Not I” by Samuel Beckett, The Politics of Experience by R. D. Laing, and a nervous breakdown I survived in the fall of 2014. Paterson Farm was inspired by Paterson by William Carlos Williams, Heart Of Darkness by Joseph Conrad, and Stardew Valley, a popular video game by Eric Barone. I Saw The Deep was inspired by the Epic of Gilgamesh, the Revelation to John, and the YouTube videos of John Plant. Parts of this manuscript were written at Stephen Jones’s house in Shutesbury, Massachusetts. I was talking with him about the Chyernyshevsky novel, What Is To Be Done?, and Stephen said the damndest thing. He said Chyernyshevsky really believed in the future, which is something almost nobody does anymore. If somebody believed in the future, what kind of novel would they write today? That is the conversation I want to have with you all. I believe it’s the conversation I’m going to be having with my craft moving forward.

I propose a new account of truth in fiction that better handles truth in impossible fictions than the standard Lewisean account. Lewis' solution makes use of possible worlds to capture truths unstated but implied by the fiction. In order to improve upon this account I categorize a number of impossible fictions by the difficulties they raise for any account of fictional truth and show that Lewis' account fails to handle several of them. By careful division of the fiction, one may construct a better account of truth in fiction which captures both the truths of possible fictions as well as the truths of impossible fictions. / Master of Arts / I propose a new account of truth in fiction that better handles truth in impossible fictions than the standard Lewisean account. Lewis' solution makes use of possible worlds to capture truths unstated but implied by the fiction. In order to improve upon this account I categorize a number of impossible fictions by the difficulties they raise for any account of fictional truth and show that Lewis' account fails to handle several of them. By careful division of the fiction, one may construct a better account of truth in fiction which captures both the truths of possible fictions as well as the truths of impossible fictions.