Yuka Igarashi – författare

Daughter of Mother-of-Pearl collects Mandy-Suzanne Wong’s reminiscences, dreams, investigations, and experiments in being with small invertebrates whose vulnerability and creativity inspire radical reimaginings of Earthlinghood. In graceful linked essays, Wong wonders: What constitutes a self if a starfish can twist off one of his arms to explore the seafloor on its own? What is an animate being, considering a living snail is also an inanimate shell? What does love mean to a jellyfish, or time to an octopus? Her encounters with nonhuman animals reshape her language into different forms from collage to fragments, and prompt uncommon engagements with various texts. She looks behind words like “invasive” and “endling” in scientific articles and in poetry, questions natural selection with a bubble-rafting snail, sees the bivalve in Dostoevsky, and studies a speculative treatise about a “vampire squid from hell.”Personal yet de-personal, at once tender and challenging, Wong’s essays invite humans to rethink our relationship to other beings. Instead of capturing and destroying them, using them as resources or reflections of ourselves, she asks us only to coexist with them—to cherish them although, and because, we cannot fully know them.

Mollusks' innermost selves are absolute secrets because, not only do they hide in shells or distant habitats, but also that's just how it is with innermost selves.Daughter of Mother-of-Pearl collects Mandy-Suzanne Wong's reminiscences, dreams, investigations, and experiments in being with small invertebrates whose vulnerability and creativity inspire radical reimaginings of Earthlinghood. In graceful linked essays, Wong wonders: What constitutes a self if a starfish can twist off one of his arms to explore the seafloor on its own? What is an animate being, considering a living snail is also an inanimate shell? What does love mean to a jellyfish, or time to an octopus? Her encounters with nonhuman animals reshape her language into different forms from collage to fragments, and prompt uncommon engagements with various texts. She looks behind words like "e;invasive"e; and "e;endling"e; in scientific articles and in poetry, questions natural selection with a bubble-rafting snail, sees the bivalve in Dostoevsky, and studies a speculative treatise about a "e;vampire squid from hell."e;Personal yet de-personal, at once tender and challenging, Wong's essays invite humans to rethink our relationship to other beings. Instead of capturing and destroying them, using them as resources or reflections of ourselves, she asks us only to coexist with them-to cherish them although, and because, we cannot fully know them.

The essential annual guide to the newest voices in short fiction, selected this year by Deesha Philyaw, Emily Nemens, and Sabrina Orah MarkThis anthology celebrates the most recent winners of the PEN/Robert J. Dau Short Story Prize for Emerging Writers, which recognizes twelve writers who have made outstanding fiction debuts in literary magazines. This year’s selections were made by Sabrina Orah Mark, Emily Nemens, and Deesha Philyaw.The stories in Best Debut Short Stories 2022 explore the dangers and possibilities of protest in Multan, Pakistan, in 1978; in the well-to-do neighborhoods of Melbourne, Australia, at the end of the millennium; and in the outskirts of Ramallah, Palestine, in the present day. They describe toxic homes and precarious lives and refuge sought in unlikely places: a bowling alley, a work affair, a noisy club, a neoclassical sanatorium, a school-turned-hostel near a flooded brownfield. They feature a pork bun made with a perfect spiral of dough, a bucket of eggs swarmed by crows, a drink made of chilled chicken blood and rose water, and a pale pink worm with five hearts who lives at the edge of the universe.Each story is accompanied by a letter from the editor who first published it, providing insight about what's new and exciting in fiction today and recognizing the vital work of literary journals in nurturing new voices in literature.