Thanks to Jonathan Montgomery for his kind review of White Van. He’s written a long and thoughtful post, part of which says,
Meg chooses to do battle with trauma, injustice, and the inherent cruelty of the world with an arsenal of pure language. This is a work more interested in the lyricism of criminality, the lexicon of desperation, and the poetry of bruises than audience-comforting elements such as narrative cohesion or conflict resolution– Jonathan Montgomery
And hats off to Jonathan for his website’s beautiful typography.
And also thanks to Su Zi for her review of the book, which can be read at GAS: Poetry, Art & Music. She begins,
Monsters are an ancient memory, a symbol, a staple of genre. Works thus of horror tend to time the reveal of their monsters, be it a frightening fog or a franchise of mutated outer space lizards. Not so in White Van, where the monster are monsters, unnamed, unseen. While a typical horror offering might involve the eternally invisible, it is precisely the prosaic settings Tuite depicts that make the work so horrifying.– Su Zi at Gas
I was happy to see this review tweet of White Van. Thanks @Ignatius Valentine Aloysius!
Thanks to Michael Hickins for hosting me on his podcast. You can listen here.
I’ve got a new piece at Anti-Heroin Chic called “No One Asks How Old a Seashell Is?” It begins:
Upholstered and isolated, food is canned and repressed, but beverages corner the caged scars of summer. I suck the marrow out of bottles. Today the kid has friends over, ravenous for anything. All pithy dimples, luster and mutiny, they’re a line-up of grenades on the couch.
Thank you to Dylan Brie Ducey and James Diaz!
Big thanks to Ben for hosting me on his podcast, Beyond the Zero. You can listen right here on Spotify or wherever you get your podcasts from this page at Anchor.fm!
Here’s a video from a recent FBOMB reading, this time in Denver, hosted along with Robert Vaughan. The featured readers were Nancy Stohlman and Kona Morris.
I’ve just had a new story published at Revolution John—thanks to Sheldon Compton.
“For What It’s Worth” begins:
Emmett had his savings in a tube sock he kept in a locked drawer in his home desk. Yes, every time a new construction site went up it was for a new bank, but his parents had been through the Great Depression and lost a bundle. After that, his Dad punched a hole through the back of his closet and set up his own savings deposit box.
Emmett’s was less dramatic…
Thanks to Superstition Review for their mention of White Van! I love that they say it “shines with Meg’s unique descriptive voice.”
I’ve got a new story up at Fictive Dream.
THE GIRL’S CUT into us before, so we must be cautious, slippery and set down the script beneath razors, black-outs, speed, any drugs that grapple to keep us unhinged.