Nicole Flattery

Four young black women, dressed provocatively, dance and lip-synch under neon light. It could be a music video except the girls are in a cheap hotel room, wearing shoplifted dresses with the security tags intact. It’s a night of escape, a break from everyday life; at last the girls aren’t under the scrutiny of their parents or their crushes. They strike dramatic poses, clutch...

Catherine Lacey’s​ last book, Certain American States (2018), a short story collection, began with an epigraph from Annie Baker’s play Circle Mirror Transformation:

LAUREN: Hey. Um. This is kind of weird – but do you ever wonder how many times your life is gonna end?

(Another silence.)

SCHULTZ: Uh … I’m not sure I know what you –

LAUREN: Like how many people...

Every​ so often a magazine will publish a graph that proves, beyond any measure of doubt, that Hollywood is sexist, with a particular bias against middle-aged women. I’m not sure for whom this information is intended. Somebody who has never seen a film but likes graphs? Somebody so insulated from the real world that they’ve never strolled past a multiplex and caught a glimpse of...

It’s​ a stereotypical Irish scene. A beleaguered man is tending to a failing and unhappy farm. There’s trouble in the poultry shed. If this were a film, there would be close-ups of a sweat-ridden brow, a taut, unending blue sky, the rugged earth. What wrenches you out of this fantasy is the first line of dialogue, delivered matter-of-factly by the farmer, John, to his wife:...