For almost three years, wher­ev­er he went, Vic­tor Stabin brought a dic­tio­nary along. Comb­ing through over 8,000 pages of a vari­ety of dic­tio­nar­ies, he came up with the allit­er­a­tions that inhab­it this work. 

We repub­lish a look at Kathy Fish’s “Wren” to cel­e­brate the release of her flash fic­tion col­lec­tion WILD LIFE.

“When peo­ple stop to ask you what you are doing, tell them that you are read­ing aloud from a col­lec­tion by the best flash fic­tion writer in Amer­i­ca.”

The short short, pieces one-thou­sand words or less, aris­es as the per­fect form to con­tain such a dynamic–its Dionysian need to end almost before it begins and its Apol­lon­ian quest to arrive at mean­ing before, like light­ning, the whole piece disappears–infuses the short short form with tremen­dous ten­sion, some­thing I call “trag­ic urgency.”

For almost three years, wher­ev­er he went, Vic­tor Stabin brought a dic­tio­nary along. Comb­ing through over 8,000 pages of a vari­ety of dic­tio­nar­ies, he came up with the allit­er­a­tions that inhab­it this work. 

A review of Tiff Holland’s award-win­ning flash col­lec­tion BETTY SUPERMAN

…for that need to face the fear of uncer­tain­ty with each word, and as Lacan tells us, even our words con­tain only an uncer­tain approx­i­ma­tion of the Real, but still we set out word after word, like bread­crumbs and bricks…

Thomas Cooper’s flash fic­tion col­lec­tion Phan­tas­mago­ria is a grip­ping 44-page com­pi­la­tion of intense short pieces con­struct­ed on themes of love and loss. T

Nar­ra­tive-based flash pieces tell a sto­ry. The basic struc­ture of such a nar­ra­tive might go some­thing like this: (1) some­thing cre­ates a very strong desire in the char­ac­ter, a desire which cre­ates the need for (2) some kind of action(s) to ful­fill this desire, lead­ing ulti­mate­ly to (3) a resolution/revelation.

An inter­ac­tive inter­view about flash fic­tion.