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favourite reads of 2025

#miscellaneous #bestof #shit year for me as far as reading went tbh. partly because my brain felt like molasses for most of it #and partly because most of the books i DID pick up i just...did not enjoy :/

smallepics

Lot 14, Lau B. || 01.31.24

@nosebleedclub February 2024 #1: glowing skin

#poetry #lau #reeds stretching / white shadows / across the moon #an armadillo / rustles clouds #FALLING DOWN THE FOOTPATH / WITH JOY!!!!!#gosh the imagery is so gorgeous. i can physically FEEL the moonlight...see the way everything glows...#the chubby armadillo making its path through the reeds and cotton brush...

asoftwrongness

prints | instagram | facebook

#asoftwrongness #collage #another banger!!!!!! gosh i love your collages so so so very much

sapphoshands

A lot of fiction these days reads as if—as I saw Peter Raleigh put it the other day, and as I’ve discussed it before—the author is trying to describe a video playing in their mind. Often there is little or no interiority. Scenes play out in “real time” without summary. First-person POV stories describe things the character can’t see, but a distant camera could. There’s an overemphasis on characters’ outfits and facial expressions, including my personal pet peeve: the “reaction shot round-up” in which we get a description of every character’s reaction to something as if a camera was cutting between sitcom actors.

When I talk with other creative writing professors, we all seem to agree that interiority is disappearing. Even in first-person POV stories, younger writers often skip describing their character’s hopes, dreams, fears, thoughts, memories, or reactions. This trend is hardly limited to young writers though. I was speaking to an editor yesterday who agreed interiority has largely vanished from commercial fiction, and I think you increasingly notice its absence even in works shelved as “literary fiction.” When interiority does appear on the page, it is often brief and redundant with the dialogue and action. All of this is a great shame. Interiority is perhaps the prime example of an advantage prose as a medium holds over other artforms.

fascinated by this article, "Turning Off the TV in Your Mind," about the influences of visual narratives on writing prose narratives. i def notice the two things i excerpted above in fanfic, which i guess makes even more sense as most of the fic i read is for tv and film. i will also be thinking about its discussion of time in prose - i think that's something i often struggle with and i will try to be more conscious of the differences between screen and page next time i'm writing.

copperbadge

This is particularly fascinating reading as someone with aphantasia, who doesn't get visual images in my mind when I read. On the one hand I constantly get reminded I have to describe my characters, but on the other, at least in my opinion, I do get a lot of interiority into my work because the visual doesn't matter, only what the words evoke emotionally.

#nonfiction #groans in relief. finally someone nails my biggest fucking pet peeve right on its head