MIR Editor
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SIX OF THE BEST, by Tim Bradford
Probably shouldn’t include something by a Birkbeck staffer but I’m not a student now so – fuck it.
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A SINGLE NOTE, by Fabrice Poussin
He reached into the darkness for the midnight drink to find the glass empty.
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THE INTENTIONALITY BEHIND THE WORK: AN INTERVIEW WITH CHRISTOPHER PAOLINI, by Akshay Gajria
Eragon, the first book in the Inheritance Cycle, which established the World of Eragon as we know it now, holds a special place in my heart and my bookshelf. It is the second book I’d ever read in its entirety and where my love for books and stories started. I was around 7-years-old and it…
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THE FALL OF TROY, by William Doreski
A false dawn awakens us. The right time, when the cloud-facts explain us to each other and absorb the spilled light.
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LITTLE THIEVES, by Susan Gordon Byron
Dali’s clocks were sincere. They slipped over things, slid past and took nothing with them. They changed. Or I changed them.
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AN INTERVIEW WITH ANTHONY MCGOWAN, by JB Smith
“Stag Hunt was published by Hodder and Stoughton. Beautiful edition. Nice reviews. Tesco bought tens of thousands of copies.” But here’s the kick. “The barcode had been misprinted and wouldn’t run through the tills.”
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ENCOUNTERS WITH EVERYDAY MADNESS ( CHARLIE HILL), Reviewed by Summer Kendrick
Hill plays with form throughout the book, to great effect. Some stories are epistolic, others are poems, reports or trailing snags of small talk on the School Run. The use of experimental form compliments the overall theme and objectives of the collection, reminding us that rules and reality are flexible conditions.
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THE RABBIT HUTCH (TESS GUNTY), reviewed by Natasha Carr-Harris
There are grand, overarching themes which loom portentously over the unfolding personal narratives, omens of ecological doom and economic collapse and a depressing paucity of societal communion, all echoed by carefully detailed accounts of the city’s deterioration and stricken portraits of its unhappy denizens.
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IOCUS MORTIS, by Joey Barlow
It’s another sellout crowd for Hugh Briss—his third in as many days at the famous Club Comedia. His set, titled ‘Laughter for a Lifetime’, consists of only one joke—not a particularly funny one, and one that isn’t even originally his, so they say, but according to the critics it’s all in his delivery. See, he…
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BREAKING KAYFABE: AN INTERVIEW WITH WES BROWN, by Craig Smith
“And so that’s what the ‘no style’ was. I wanted it to seem spontaneous, to deliberately not write well. And that was a risk because if you want to purposefully write with a little bit less gloss and a little bit less polish, it could come off like you just can’t write. But I wanted…
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