The spiral effect in this short-short from The New Yorker is excellent; a textbook example of a successful one-page* fiction.

Well known narratives not as an idealised version, but as pointed articulations of looking at sedition, subversion, power, influence, control or authority.

On the condition of being an artist and the reasons why an artist is compelled to live, and cannot settle.

Darker aspects of motherhood are real, and natural transgressions are not enough spoken about in this way.