"Parentheticals" is the title story in a collection-in-progress dealing with New York City dwellers whose lives are often less than six degrees away from Kevin Bacon. I'm thrilled for it to appear in Another Chicago Magazine, a venue I've long admired. It's illustrated by the work of brother-from-another-mother, John Tomlinson.

a new piece of flash nonfiction appears in this excellent anthology out of Australia, The Incompleteness Book, edited by Julia Prendergast, Shane Strange, and Jen Webb, on Recent Work Press

together with colleagues Ravi Shankar and Sally Breen, I edited Meridian: The APWT Drunken Boat Anthology of New Writing, an excellent new anthology of fiction, nonfiction, and poetry coming out of the Asia-Pacific region

I’m honored to have new work appear in Teesta Journal (India): “Dandelions (after James Salter),” and “Rob Reads Allen Ginsberg’s Sunflower Sutra to Me in His Mother’s Basement, Wading River, Long Island, 1971″

The ChillFiltr Review has nominated "An Outrageous Proposal" for a Pushcart Prize.

Another story in the coming-of-age of Clifford Foote, this one called “Excuse Me,” appearing in Vol 3 of A Feast of Narrative, Editor Tiziano Dossena’s series of anthologies featuring poets and writers of Italian-American descent, including Lucia Antonucci, Maria Teresa De Donato, LindaAnn LoSchiavo, and many others.

“My Mother Ignores the Severity of Covid-19,” A new poem appearing in the esteemed About Place Journal.

“A Lydia Davis Story,” new fiction in southeast Asia’s most formidable journal, the Quarterly Literary Review Singapore.

A new story up at The Good Life Review called … “Rabelais.”

New story in Passengers Journal, “Don’t Fizzle My Stick.”

Happy to announce that “Another Lydia Davis Story” won top prize in Columbia Journal’s issue on loneliness.

A new story up at CHILLFiltr Review called “An Outrageous Proposal.” If you enjoy, please click the clapping-hands icon on the bottom. You’ll set your humble author up for huge prizes of enormous value.

Prose in the Time of Pandemic
Prose in the Time of Pandemic: A Six-Week Online Workshop in Narrative Prose. Weekly exercises drawn from prose samples by (some of) the following authors: Carmen Maria Machado, Colson Whitehead, Kate Zambreno, Myriam Gurba, Justin Torres, Joy Castro, and others. Feedback from participants and instructor. No synchronous sessions–log in from any time zone at any time. Details here. Register here.

Available at Amazon.
​Two stories, “The Quiet Mouse Gets the Cheese,” and “You Understand Me,” each a link in the novel Work Until Failure (a novel-in-stories, 85% complete), appear in this sterling anthology of Italian-American authors. Available at Amazon.

Book Review—ROCHELLE ALMEIDA
What makes
 a Short Story work— and what makes 
it memorable
Author Tim Tomlinson earned his Bachelor’s degree and his MFA from Columbia University. But, as his collection of short stories entitled This Is Not Happening To You reveals, he received his Ph.D. from the School of Life’s Hard Knocks. To read these stories whose settings
cover vast geographical ground from Long
 Island (where he was born and raised) to
 New England, from New Orleans to Los Angeles, with the West Indies and the UK throw in for good measure, is to travel through the dark landscape of a mind that has known relentless struggle for survival. Only very thinly disguised as fiction, these strongly autobiographical stories admit entry into the writer’s bruised and battered psyche even as they depict the bravado with which crippling experiences were conquered and transcended. In the hands of a mediocre writer, such material, while remaining compelling, could easily degenerate into morbidity. In those of a master-teller, which is what Tomlinson repeatedly proves himself to be, biographical details coalesce with popular music, lyrics of well-loved folk songs or lines from award-winning poetry to become a purely breathtaking reading sensation. These stories expose the underbelly of places that harbor delinquents, drop-outs and drunks whose fraught lives become our concern as we labor through their relentless hussle to move on.
And so we meet Bonnie Bray in ‘What She Was Calling For’, a story whose sparse style recalls of Raymond’s Carver’s minimalist prose as much as does its title—What We Talk About When We Talk About Love. A recovering alcoholic working through ‘The Steps’ that will liberate her from addiction, she telephones the narrator—himself a recovering from addict—seeking a meeting. Their difficult history, however, leads him to mock her efforts, to goad her even into regressing. From his slightly stronger perch of sobriety, the narrator looks down superciliously upon her struggle, willing her to suffer as he had once done while he’d remained under the combined addictive influence of alcohol and infatuation. Their conversational dance, each step cautiously and meticulously choreographed, keeps the reader on tenterhooks wondering where the encounter will end or, indeed, where it might lead.
The world is full of recovering addicts. Only a few of them have the powers of articulation that the narrator of the title story, ‘This Is Not Happening To You’ can boast. In a staccato round of rapidly-fired phrases, we are given insight into the mind of an alcoholic and his typical Sunday routine in America’s Funville, New Orleans. In a stupor, the narrator, lonely and in despair, befriends a rat—before indignation at the sight of its teeth-marks embedded in his avocado, sole sustenance on a soulless day, resurfaces. Monsieur Rat must be annihilated. But then the narrator sees a kindred spirit mirrored “in the grimace of horror” on the creature’s grotesque face. And the rat lives another day. Like so many of them, this story is creepy is more ways than one.
Empathy with animals is the subject of one of the collection’s most moving stories, ‘Reunion’, in which the narrator recounts his attachment to his German shepherd Wolf who “got into trouble” for being provoked into nipping at a neighbor’s ankles. The nameless ‘he’ of the story (called Cliff in another tale) envisages a farm, a meadow, a field amidst rolling hills, when informed by his father that the dog is being sent “to a good place’. When, after swallowing his endless grief with the prescription pills to which he had become addicted, a reunion with the dog occurs unexpectedly, the narrator, still a boy, finds him at a local pharmacy that he attempts to break in and enter. Horrified at the state to which his beloved companion has been reduced, the boy is determined to save him, only to be thwarted, in the cruelest way possible. Such stories leave the reader horrified, aghast and reeling in their rawness.
Unable to leave their troubled pasts behind, the protagonists of Tomlinson’s stories are bitterly haunted as adults by regret, a desire for revenge, maybe even a hankering after closure when their painful childhoods collide with daily life. A psychotic conversation between an adult son and his elderly mother in ‘Just Tell Me Who It Was’ keeps the reader as stressed as the old woman who is insistently forced into confronting her husband’s infidelity. Tomlinson’s deftness of touch captures, with scary accuracy, the details of such an exchange–tactics used by the woman to evade accusing questions and the determination of her son to get to the bottom of his suspicions. Perhaps he believes that assigning blame will permit him to make peace with his torment and maybe even make peace with the mother who tolerated a cheating, abusive husband. It is characters such as these that Tomlinson depicts: haunted by the ghosts of their disturbed pasts, happiness eludes them in their presents.
Indeed, aside from crafting stories that repel as much as they fascinate, Tomlinson proves himself to be a skillful editor. His protagonists depict a vast appetite for sex, drink, drugs and danger; but there is not an extraneous word in their expression, not a spare sentiment to be found. The author fires straight from the shoulder and slays the reader with every shot. Just when one has digested the full impact of one plot, one is bombarded by another—but in the quietest, most sinister, most devastating fashion possible. Tomlinson’s skill as a narrator is akin to that of a thespian whose fullest impact is most felt when his lines are whispered.
Read these stories not only to understand how the hunted Jean Valjean might have felt in Victor Hugo’s masterpiece or how Gregor Samsa felt when transformed into a giant insect in Kafka’s greatest work. But also read these stories to discover what makes a short story work—and what makes it memorable.
This Is Not Happening To You—Short Stories by Tim Tomlinson Winter Goose Publishing, 
North Hampton, New Hampshire, 2017 Paperback, $14.99

IAWA New York City Literary Series Presents Sept 2018Saturday, Sept 8, 2018 @ 5:45 – 7:45 pm
John Domini has published three novels and three books of stories, the latest MOVIEOLA! (Dzanc, 2016). The book earned good notices; J.C. Hallman, in The Millions, called it “a new shriek for a new century.” Shorter fiction has appeared in Paris Review and elsewhere, and non-fiction — much of it about Naples and his Southern Italian family — in the New York Times and elsewhere. He has taught at Harvard and other places, and much of his literary criticism is collected in The Sea-God’s Herb (2014). He’s won a literature fellowship from the NEA, and one of his novels, in translation, was runner-up for Italy’s Domenico Rea award. A new novel, set in Naples, will appear in 2019. General information is at www.johndomini.com.
Tim Tomlinson is a co-founder of New York Writers Workshop and co-author of its popular text, The Portable MFA in Creative Writing. This Is Not Happening to You, his first collection of short fiction, appeared in November 2017. He is also the author of  Requiem for the Tree Fort I Set on Fire (poetry), and Yolanda: An Oral History in Verse.  His work has been published in China, the Philippines, Singapore, and Australia, and anthologized in the Brooklyn Poets Anthology, We Contain Multitudes: Twelve Years of Softblow, and Long Island Noir. He is a member of Asia Pacific Writers & Translators.  He teaches in the Global Liberal Studies Program at NYU.
WHERE: Cornelia St. Cafe @ 29 Cornelia St.
About Cornelia St. Café …. recently featured on USA Today’s 10Best Places for Live Music
WHEN:  Saturday, Sept 8, 2018 @ 5:45 – 7:45 pm
COVER:  $10 includes complimentary drink.
CONTACT: www.corneliastreetcafe.com; or 212-989-9319.
DIRECTIONS:  A, B, C, D, E, F, and M to West 4th St. or 1 to Christopher St.-Sheridan Sq.

Ali Cobby Eckermann Yankunytjatjara Aboriginal poet Ali Cobby Eckermann is the author of seven books, including the verse novel Ruby Moonlight, the poetry collection Inside My Mother, and the memoir Too Afraid to Cry. In 2017 she was awarded Yale University’s Windham Campbell Prize in Poetry.
Patricia Jabbeh Wesley is a Liberian civil war survivor who immigrated to the United States with her family in 1991 during the fourteen-year Liberian civil war. She is the author of five books of poetry: When the Wanderers Come Home, (University of Nebraska Press, 2016), Where the Road Turns (Autumn House Press, 2010), The River is Rising (Autumn House Press, 2007), Becoming Ebony, (Southern Illinois University Press, 2003) and Before the Palm Could Bloom: Poems of Africa (New Issues Press, 1998). She is also the author of a children’s book, In Monrovia, the River Visits the Sea, (One Moore Books, 2012) Her poem, “One Day: Love Song for Divorced Women” was selected by US Poet Laureate, Ted Kooser, as an American Life in Poetry June 13, 2011, featured poem. Patricia has won several awards and grants, including a 2016 WISE Women Award from Blair County, Pennsylvania, 2011 President’s Award from the Blair County NAACP, the 2010 Liberian Award for her poetry and her mentorship of young Liberians in the Diaspora, a Penn State University AESEDA Collaborative Grant for her research on Liberian Women’s Trauma stories from the Civil War, a 2002 Crab Orchard Award for her second book of poems, a World Bank Fellowship, among others. Her poems have been nominated twice for the Pushcart Awards. Her individual poems and memoir articles have been anthologized and published in literary magazines in the US, in South America, Africa, and Europe, and her work has been translated into Spanish and Finnish. Patricia holds a Ph.D. from Western Michigan University. She is an Associate Professor of English and Creative Writing at Penn State University’s Altoona campus.
A short story writer, novelist, and memoirist, Roberta Allen is the author of nine books. Her latest is the story collection The Princess of Herself  (Pelekinesis Press). Over 300 of her stories have been published in such magazines as Conjunctions, Guernica, Bomb, The Brooklyn Rail and The Collagist, among many others. She is also a conceptual artist in the collection of The Metropolitan Museum. www.robertaallen.com
Tim Tomlinson is co-founder of New York Writers Workshop and co-author of its popular text, The Portable MFA in Creative Writing. He is also the author of Yolanda: An Oral History in Verse, Requiem for the Tree Fort I Set on Fire (poetry), and This Is Not Happening to You (short fiction), which he’ll be launching at tonight’s reading. His work has appeared in Australia, China, Singapore, and the Philippines, and is anthologized in the Brooklyn Poets Anthology, Long Island Noir, and We Contain Multitudes: Twelve Years of Softblow. He teaches in the Global Liberal Studies Program, NYU.

Writing the Addict: A Multi-Genre Workshop in the Representation of Addiction
In this six-week online course, participants consider the ways that addiction has been written about in poetry, memoir, and fiction, then borrow premises and strategies to launch their own work. The first week looks at a number of angles on addiction. Weeks two through five trace an arc: early experiences, deeper involvement, bottoming out, getting out. We’ll see instances of tolerance, withdrawal, relapse, craving. We’ll look at a few examples that deal specifically with various steps of Twelve-Step recovery. In each section, participants will be asked to write their own accounts, based on the craft or the content (or both) of the samples under consideration. The sixth and final week will look at methods of revision, consolidation, and publication. Workshop critique guidelines will establish methods of manuscript analysis. Each participant will receive at least one extensive analysis from the instructor. By the end of the sessions, participants will have an overview of addiction as it’s appeared in prose and poetry, along with several drafts-in-progress (of prose or poetry), one or more of which might lead completed, publishable work. [Models for course work will derive from some of the following sources: Ann Marlowe, D. Watkins, Kim Addonizio, Charles Bukowski, Solomon Jones, Mary Gaitskill, Robert Bingham, Emily Carter, Raymond Carver, Jeet Thayil, William S. Burroughs, and others.]

THIS IS NOT HAPPENING TO YOU ranges with imaginative ease across locales and characters – a wealthy socialite in the Hamptons, a bitter old Korean War vet in the suburbs, a 30-something drunk in New Orleans with delusions of grandeur, and many others. Quickly sketched but nevertheless fully realized, these figures stumble into extreme (yet somehow plausible) situations that expose their all-too-human delusions. Above all, Tomlinson focuses on the cruelty of desire that makes each of us in turn predator and prey, martyr and buffoon. In the hands of a less assured talent these stories would offer only a grim accounting of human sin and stupidity, yet Tomlinson leavens them with humor that is by turns wry, patient, and tender, although never sentimental. Sui generis as Tomlinson’s sensibility is, it draws on one of the richest veins in American Letters, ‘Made in New York’ stamped on every insight and sentence.  By turns sardonic, irreverent, bold, psychologically astute and always engaging, Tomlinson has placed himself in the company of celebrated New York writers past, a pantheon that includes Hart Crane, Anatole Broyard, Dorothy Parker, and above all Leonard Michaels, who would have recognized a kindred spirit in the pages of TINHTY. While the city that provided inspiration to generations of artists has all but disappeared, in Tomlinson’s stories we encounter a late florescence of the unique sensibility that New York gave to the world.
–Robert Anasi, author of The Gloves: A Boxing Chronicle, and The Last Bohemia: Scenes from the Life of Williamsburg, Brooklyn

Person, Place, Prose, Poem: A Writing Intensive (w/Tim Tomlinson)
​
Person, Place, Prose, Poem focuses on several of the most important components of poetry, fiction, and/or memoir: character, setting, and plot. Exercises, drafts, critique, in a process-oriented workshop.

Sat Jan 28: 11:00 am – 2:00 pm and Sun Jan 29 2:00 pm – 5:00 pm — Cost: $115 / Max: 25 participants

Register at: https://www.eventbrite.com/e/person-place-prose-poem-a-writing-intensive-with-tim-tomlinson-tickets-30441412083

Tim Tomlinson is a co-founder of New York Writers Workshop and co-author of its popular text, The Portable MFA in Creative Writing. His poetry collections Yolanda:  An Oral History in Verse (a chapbook), and Requiem for the Tree Fort I Set on Fire, appeared in 2016. This Is Not Happening to You, a collection of short fiction, will appear in 2017. His work in poetry and prose has been published in China, the Philippines, and in numerous venues in the U.S., including Blue Lyra Review, Caribbean Vistas, Lime Hawk, the Brooklyn Poets Anthology (forthcoming), and in Long Island Noir (Akashic Books). He is a member of Asia Pacific Writers & Translators. He teaches in the Global Liberal Studies Program at New York University.