Her poetry and stories most recently appear in American Short Fiction, The Bennington Review,  Tin House (Open Bar), The Collagist, jubilat, The Believer, and have been anthologized in Best American Poetry 2007, Legitimate Dangers: American Poets of the New Century (2006), and My Mother She Killed Me, My Father He Ate Me: Forty New Fairy Tales (2010). Poet Sabrina Orah Mark’s first book of fiction, Wild Milk, isn’t just a collection of surrealist stories with a contemporary twist. . “No daughters.” “How come?” she asks. . While Mark doesn’t embrace the commonplace qualities of family life she certainly doesn’t avoid them: parents fret that their son is unmarriable; a father recounts his role as provider; the family maid may or may not be more than a servant; the mother struggles to embrace the stepchild as her own. Wild milk is…what, exactly? I was just standing there being like, I’m so bored that I had to go into this place of, imagine if this game just never ended and everything was covered in dust. Sabrina Orah Mark . . . I don’t know if you know this game, but they wrap a present like a million times and then they pass the present around and around. . These narrators lend an intimacy to the telling that not only make the stories believable, but also put something at stake in the telling. . Sabrina Orah Mark grew up in Brooklyn, New York. Many of these narratives could not have the impact they do without the first person narrator—the credible witness to incredible events. I don’t say that I’m going to write about the time my attic was filled with … Sabrina Orah Mark is the author of the poetry collections The Babies and Tsim Tsum. Li Shan Chong was born in Singapore in 1985. She is the author of the book-length poetry collections The Babies (2004), winner of the Saturnalia Book Prize chosen by Jane Miller, and Tsim Tsum (2009), as well as the chapbook Walter B.’s Extraordinary Cousin Arrives for a Visit & Other Tales from Woodland Editions. . . The literary Internet’s most important stories, every day. . . . Her awards include a National Endowment for the Arts Fellowship and a fellowship from the Fine Arts Work Center in Provincetown, Massachusetts. Mark as a fabulist is indeed more of a descendant of Beckett than, say, Lewis Carroll. . Wild Milk is like Borscht Belt meets Leonora Carrington; it’s like Donald Barthelme meets Pony Head; it’s like the Brothers Grimm meet Beckett in his swim trunks at the beach. . . In these stories, family dynamics and first person narration are frequently paired. . Andre Hulet’s poetry has appeared in Faultline, Konundrum Engine Literary Review, and At Length. Readers of her two previous books, both collections of prose poems, will find themselves in familiar territory with Wild Milk. And reality may be mundane, but the self is not: the reader can find much to learn about its mysteries in these stories. . Stories in which laughter is sometimes the only response to sorrow, beauty is strange, and love is fierce and unending. On "Tweet" by Sabrina Orah Mark (1151 words) *** Mark is a poet, which is obvious from this piece, which plays with language more than anything else one would expect of a story. She lives in Athens, Georgia with her husband, Reginald McKnight, and their two sons. He lives in Portland, Oregon with his wife and three sons. . . Even given Mark’s inventiveness, family as a subject risks becoming pedestrian. The second blurb topples a sturdy shelf and balances Wild Milk atop a ziggurat of Bruno Schultz, Grace Paley, Lydia Davis. “Gigantic,” I repeat. “Pick me up and carry me. Sabrina Orah Mark grew up in Brooklyn, New York. Techniques found in her poetry—dreamlike settings, charged images, physical transformation, motifs, word play—are found throughout the Wild Milk stories as well. I am too thick with ennui to walk.” I pick up Sister. . Nearly all of the stories have this concern for family, which is not to say that Mark relies exclusively on family for her interpretive scheme. It is an intriguing sign-post to start this collection of stories told by Mark in a carefully realized style, so unlike Becket’s language of omissions and interruptions. Wild Milk , her first book of fiction, is recently out from Dorothy, a publishing project. It was one or two birthday parties every weekend, and my kids were little so you have to stay with them. . “Clay,” for instance, is written in paragraphs that contain forward slashes, which stand in for poetic line breaks.

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