Below is an excerpt from Adam Soldofsky’s forthcoming novella, Telepaphone, which includes illustrations by Axel Wilhite. Preorder your copy here.



Before we were friends I used to watch him, half-lovesick, from a distance in art school. The low formation of academic buildings came together in a pavilion with large grassy flights descending onto a shady lawn. Axel would sit near the top only somewhat out of the sun, legs crossed in conversation with a classmate, listening with his chin raised and lips slightly pursed or pulling earnestly from the little vape pen he was never without. He was handsome, dressed cool, was smart and unpretentious and his work was excellent. The faculty knew he was going to be great and we all did too and there was no reason to begrudge him for it though that didn’t stop some. He’d already had a few paintings in a serious group show and it was known that a well-regarded gallerist was awaiting his final portfolio. I loved his work from the first time I encountered it. It was ravishing and self-evident. You knew it was the real thing, and by implication you knew your own work was not, which stung but what could you do? You could still have a career, maybe just not a memorable one.

We didn’t have a class together until our final semester. The professor was a rather important Conceptualist. She would only allow for “description” during crits and under that principle said a lot of cruel and unflattering things without seeming to realize just how cruel and unflattering, which could be funny if you weren’t too far up your own ass, which most of us were, so we suffered when we could have had a laugh. At the end of it we installed our supposed best work in the graduation show hoping for some interest beyond family and friends. I hadn’t said much to Axel all semester except to praise what he brought to crits. I tried not to but sometimes I would look at him across the circle of students where he sat and wonder about him. Every once in a while he would catch me and smile in a friendly way that made me ashamed to have been born. Something was definitely wrong with me. It’s not that I wasn’t liked by my peers. I’ve always had friends and gotten along. I usually gelled with my teammates. I had loved and been loved in return, at least as far as I could tell. It was mainly that, for as long as I could remember, I’d harbored a suspicion that I was basically, at my core, full of shit, and nothing that had transpired in my life thus far had convinced me otherwise. 

 The day when we were supposed to be clearing out our campus studios, I heard a knock at my door and there was Axel Wilhite, leaning in the threshold.


[Below is an excerpt from Brooks Sterritt’s new novel The History of America in My Lifetime. Get your copy here!]



The first powder they provided for our enjoyment sharpened something inside me, and dulled something else. My body ceased functioning in the way I was accustomed. Reagan switched on speakers in the room’s corner, filling the air with what may have been a brown note. The two of them flanked a lamp, and sort of shimmied there, watching me. I was reminded of Giotto’s Death and Ascension of St. Francis, for the angels of course but also for what was hidden inside the cloud. In foreground: corpse, mourners, roughly ten haloed angels (some with illegible faces), and the ascendant St. Francis. The cloud, though, contained the face of what could only be a devil, demon, imp, daemon, fiend, or fallen angel. What else watches from a cloud?


The better question: what did “demon” really mean? Even if you reject the label, some things shined with enough intensity to make direct viewing of the source impossible. Some had an ability to control brightness, to blur certain aspects of themselves, even to cloud a mind or two. 


The second powder they gave me caused my body to sink into what felt like a jelly-filled bag. A series of sounds: paper being shredded in slow-motion, a chainsaw backwards, the sound of a single finger snap echoing, extended until it sounded like a hiss of flame. I breathed heavy electricity. A layer of clear glass emerged between my eyes and surroundings, which then shattered, reemerged, and shattered, until the ceiling extended into an infinite corridor. Woodland paths and streams became visible in the tile, a maze buzzed into the hair on someone’s gargantuan head. The pair of attendants were sitting on the edge of the bed, talking.


“They always say they can go forever,” Reagan said.

“Like, I’m going to fuck you for hours,” the other said.

“Then, a few minutes later…”


Below is an excerpt from Mark Gluth’s new book, Come Down To Us, available now from Kiddiepunk. Order your copy here.




The night sky hung above the sea with arrant darkness that the water’s surface reflected so that the sky may well have just  been some other sea, with a packed in pitch enveloping the both of them like what inkiness would be found in a closed off cave sunk under a forest that was buried beneath an avalanche  and hidden within some other night, one whose sky was  so thick with unlitness  that it just came off as loaded with the stuff which  it pressed on the planet that splayed beneath it so that  the landscape was some long thing which ran featureless and so fucking black that it seemed to be  some still sea upon which this night sky that’d been emptied of its moon and stars swaged it’s absent form.

Preorder Comaville from Clash Books. 


Josh Husk awoke in a bed that had once belonged to him. The sun peered through the nearby window, gently stroking his face. He lay there for a brief moment, feeling the textures enveloping him. The bed was much too small for him, his legs dangling over the side at mid-shin. He sat up, confused and alert as if he had just left a nightmare behind. He took in the room. It was foreign, yet familiar.

The floor was a sprawling, orange, shag carpet; a disgusting sea of burnt pumpkin. Sparse blotches of brown were mixed in, which seemed more like accidents than artistic choices. The length of the shag bordered on experimental, reaching almost two inches in height. 

A dial television set sat on the floor, surrounded by an old gaming console. The controllers sat amongst the shag, their wires tangled in unsolvable knots, snaking through the carpet. Action figures were scattered about like the bodies of fallen soldiers. The walls were blanketed with posters from Saturday morning cartoons and beloved video game characters. 

It became apparent to Josh, at that moment, that this was his childhood bedroom.


[The following is an excerpt from Shane Jones’ new novel, Vincent and Alice and Alice, now available from Tyrant Books. Get your copy today.]


§ § §


“You look like Bert, from Bert and Ernie,” says Alice when I walk into the apartment. It appears she hasn’t moved today, the apartment surrounding her looks untouched. She’s dressed in what she wore last night. 

“Thank you.”

“It’s the shape of your head,” continues Alice, who sits on the couch with her feet up on the table. The TV shows a man in a leather vest and American flag bandana with his outstretched arm aiming a gun at a crowd of forest-green ski-masks. In the background is a storefront framed in fire and people running in and out. Holding up one hand toward my jaw Alice pretends to turn my face in a deep study. “I don’t know if it’s because you’re getting older, but your head is longer and has a pinched quality to it now.”

“Like Bert’s.”

“Exactly,” she replies satisfied. 

The following is an excerpt from Noah Cicero’s new novel, Give It To The Grand Canyon, which is forthcoming from Philosophical Idiot.


On the bus heading down the west rim, six in the morning, looking out the window. Barely anyone on the bus. I decided I would hike down to the bottom of the canyon. I hadn’t done it in over a decade and knew I had to do it again. The shimmering green world had always haunted me. I had to get back. The Grand Canyon had something to say to me, some truth, I knew it was down there, I just needed to get to the bottom.

The bus stopped at Yaki Point, the sun barely up, a pale light. I went over to the water bottle filling station and loaded up six bottles, put them in my backpack. The bag was heavy on my back, but I knew I had to carry it. There was no water on Kaibab Trail. There wasn’t going to be any water until I got to Bright Angel Trail.

I started hiking down, there were tourists at the beginning, all bumbling around holding one bottle of water. I walked by them telling everyone good morning, hello, have a nice day. I smiled and felt good.

[An excerpt from THE GREAT AMERICAN SUCTION, forthcoming from Tyrant Books on Feb. 26]

Once a month, the Brothers Tully host militia training maneuvers in and around the thirty-odd acres that entrench their house. Since Shaker owes the Brothers approximately a full week’s labor for use of their truck, he has been conscripted into service this Sunday afternoon. The game is paintball, and he joins the angry secessionists and meth mummies and paroled vagrants who have also been coaxed through assorted Tully-related obligation. Shaker is kitted up in camouflage and fourthhand hockey pads, humping things into position. Thanks to the dearth in available head armor, he can see a few exposed faces that he recognizes. Stool slouchers from the Regal Beagle, grocery stockers, an alderman, a Shriner. Even Bob Mossenfeld, who managed the only used auto lot in town and sold Shaker his old van before he was fired for lagging odometers. The Minnesotan sits with a shotgun cracked open on its hinge. He’s trying to huff the paint cartridge inside. Hunkered on another tree stump is Bitters McCaulky. The reverend’s face is clamped with concentration as he velcros on his body-molded shin guards and aluminum crotch shield. He’s suiting up for some serious castle siege. Shaker hurriedly crams his head into his ski mask. Then he straightens his bullet belt and thermal gloves, his night-vision goggles although it is not night. Fully pieced together, he walks up and holds his gun point-blank to McCaulky’s cheek and gives the trigger a dainty pinch. A loud lisp of compressed air. The man’s head jerks. Red paint decorates all immediate parties. Shaker thinks he can read in the spatter the cryptic intimations of his own existential liberation. It more or less resembles red velvet cake.

“Bombs away,” Shaker says and returns to his team of junky addicts and lonely stalkers and school board members. A Tully blows a bullhorn.

The skirmish can now officially begin.