Iron Twine Press is giving away 15 copies of Lyn Coffin’s The First Honeymoon: New and Selected Stories via a Goodreads Giveaway.
The giveaway is live now! Click here to request a copy of the book.
You could argue that, as the publisher of this book, we’re biased. It’s true, we publish work that we like. I think that should be true of every publisher. I’d like to explain to you just what it is we like about The First Honeymoon, I think it gets at what is special about this collection of stories:
The edginess of Joyce Carol Oates; the ability, like John Updike, to extract human drama from the mundane, the suburban, the overlooked experience; the twisting of form to the service of story, a la Alice Munro; the poeticism of Virginia Woolf; the quirk and off-beat humor of Richard Brautigan—all these elements come together in Lyn Coffin’s distinctive style.
Simply put, Iron Twine Press wanted to publish these stories because they are not like any stories we’ve read before. There are moments throughout the collection that remind us of the writers mentioned above, and it’s helpful to use those names to try to place these stories on the literary landscape, but on the whole these stories are unique. The voices are mature, characters who have lived and lost and are trying to regain what, after a lifetime, emerges as truly important—simple connection in friendship and in love, acceptance despite flaws, patience and honesty and grace.
The stories collected in The First Honeymoon often don’t feel like stories. That is to say, you won’t always find the patient narrator waiting at the door to guide you in to act as your tour guide, to feed you facts in a sequential order, to introduce you to everyone and make sure you’re comfortably situated as the show unfolds. These stories defy our expectations about how stories should come to us, how they should act. These stories have the feel of events into which we have tumbled unwittingly—at times, as though, at a restaurant, we were looking for the bathroom and stumbled into a banquet room hosting a family reunion and one person after another mistakes us for family and begins speaking to us, at other times as though we’ve broken into an apartment and are rifling through private correspondence, completely taken in by the intimacy and the urgency in the language of what we’ve found. Events unfold around us unexplained, and yet if we pause to think about what we’ve read, we realize that we don’t need an explanation; as human beings involved in our own searches for connection with others, our own searches for love, our own desires for acceptance, validation, forgiveness, we recognize exactly what’s happening and we understand. These stories are more than narratives which you read: you live them, you participate in them, you complete them, in the same way your eye completes a minimalist sketch of a face (a swooping line here, a dark line there, a dash—a nose, an eyebrow, a mouth), you look at it, you relax into it, you see it.
That’s what we saw in Lyn Coffin’s work and why we wanted to publish her collection.