“Savagely ironic and boldly imaginative, Daryl Glenn’s unique collection of farflung tales delivers moments of intoxicating beauty and sobering ugliness. These fictions challenge the things we hold sacred with the killer instinct and deft hand of our best satirists.”
—Josh Pyror, novelist, author of “Monkey in the Middle”
Review of “The Girl with Two Left Breasts”
by one of Amazon’s Top Customer Reviewers, mrliteral:
Beyond the Stephen Kings, John Grishams and Danielle Steeles, there is a whole bunch of writers who toil quietly and produce quality material, yet never get significant recognition. Such is the case with D.V. Glenn, a writer you’ve probably not heard of. I’ve followed the career of Glenn for over a decade, though his stories have been generally limited to literary journals and the like. At long last, he has come out with a collection of his stories, which will hopefully put more of a spotlight on his writing.
This collection poses an issue for the Amazon reviewer like myself, who knows that Amazon can be restrictive about certain words in reviews. Thus, I refer to this book as The Girl With Two Left B; the review reader can figure out the rest easily enough. Similarly, some of the titles of the short stories can only be indirectly referred to, such as the one that kicks off the book, “The Hypothetical N.”
This is less a story than an anecdote, and at barely four pages, the shortest tale in the collection. It is probably also the one superfluous story, as the crux of the story is repeated in “Footage”.
D.V. Glenn – My Father’s Penis & Other Stories. In this collection of short fiction, cultures, genders, and points of view collide as characters struggle with issues of race, identity, sex and addiction in an unforgiving urban milieu. The author has been called “An important new voice speaking to us throughout the stories in an array of vivid, unusual tongues, all of them full of intellect, passion and poetry. Moreover, the collection strikes one as having been written by someone whose literary sensibility is already fully formed.” While structural invention and risk-taking, virtuosic language to some degree color each of the stories, aesthetics never overshadow the difficult business of being human these acutely here-and-now, sometimes painfully self-aware characters, both African American and white, are compelled to transact.