Praise for Alligators at Night by Meg Pokrass from Stuart Dybek!
The nuanced tonal complexity, which can go from the whimsical to a darker irony in the turn of a phrase, has been a signature feature of the work of Meg Pokrass. That complexity is, in her new collection, Alligators at Night, heightened further by the fertile invention and unpredictable interplay of these beautifully crafted pieces.
—Stuart Dybek, author of Ecstatic Cahoots
Meg Pokrass is my favourite flash fiction writer at the moment. These stories work like stories within stories, the tiny cogs in the wheels of a bigger story machine but which, like fractal patterning, retain the shape of the whole story in perfect miniature form.
—David Gaffney, author of Sawn Off Tales
If you ever hear someone say they don’t get flash fiction or ask what impact can you possibly make with prose in such few words? – tell them to read Meg Pokrass.
—Paul McVeigh, author of The Good Son
These small fictions are elegantly wrought, diamond-hard, and supremely satisfying.
—Robert Scotellaro, author of What We Know So Far and Bad Motel
Praise for Previous Collections
“The people in these stories need Meg Pokrass. Their lives are tough but her imagination is the fire-lasso that can save them, save us. In her work, off-kilter is the same as clear-eyed focus. Here, strange and normal go hand-in-hand, a marriage that explains nothing but makes so much clear. Time after time, these little stories read big.”
—Bob Hicok, author of Elegy Owed (Copper Canyon Press, 2014) and This Clumsy Living (University of Pittburgh Press, 2007)
“Meg Pokrass bops and slams through these little stories like some genius extraterrestrial psychic on a world tour of the human heart. Her language is supercharged and witty, with humor and sadness in approximately equal amounts.”
—Bobbie Ann Mason, author of Shiloh and Other Stories, In Country, and The Girl in the Blue Beret
“I dare you to read a Meg Pokrass sentence and not want to read the next. Just enter that voice voice and it makes magic. It’s the kind where you don’t know where you’re going until you’ve left, but you know it was deeply right to have been there. Unassuming, ridiculous, insightful, dark.”
—Robert Shapard, editor of seven anthologies for W.W. Norton from Sudden Fiction to Flash Fiction International.