A professor of Linguistics in a Gulf Coast college town causes an accident that destroys his marriage and sends him into a breakdown, in which he perceives that the world is falling apart with him. Even his language becomes fractured, in a parallel to the Biblical story of the Tower of Babel.

Fiction. Literary Nonfiction. Gabriel Blackwell's CORRECTION is a book of recognition and reckoning, fiction in its newest form. These 101 short story-essays (what are they?) plunge out of the dizzying, devastating, truthy world of social media and into the depths of our daily lives. The result is relentlessly precise, ferociously ethical, damning, sly and essential. Blackwell is at the height of his powers as one of the most innovative prose writers working today. To this hyper-mediated world, its texts swollen with absent facts and bad intent, we offer CORRECTION. "Blackwell has created an unsettling new kind of realism in this collection of flash-point shorts. At almost every page I found myself saying, 'Well, this can't be real,' while at the same time struggling to reconcile myself with the sheer familiarity of all these humans at their absurd and befuddled worst. I, too, had clicked on some of the headlines that informed these stories, but that was not what made this book so disconcertingly familiar. Rather, what I saw in CORRECTION was what I least wanted to see there: my own self looking back out at me. Blackwell has created the strangest of mirrors: a book that crackles with the compulsive voyeurism of the internet age tempered by the lens of that most relentless of companions--the self-reflective 'I am.'"--Sarah Blackman "WTF is this book exactly? It's a compliment to the book that I can't tell if these stories are found or made and in what proportion. Reading them gave me an unsettled and jittery feeling, like I was seeing too much of our world too rapidly, and just as I get a satisfying glimpse of a life or a state of being, it turns into something else and leaves me dazzled. CORRECTION feels true and it feels like now."--Ander Monson "Cut Zola (who took the sociopolitical temperature of the times and was shrewd about people, aware of their size) with Gari Lutz who makes a sentence crackle to matter. Add work that splashes around in the apocalypse of our mutilated attention (the Internet), like Mark Doten's Trump Sky Alpha, and increase with a pure injection of something like a Yahoo! News stream where the personal, the celebrity, the horror, smacks its lips at politics--here are 101 ideas for how to write a short story without redemption because we all know where we're heading. Blackwell offers this, a series of taut windows that are mirrors that are all screens. We need new ideas about how to write stories given the window/mirror/screen/apocalypse thing and ever-new ways to hallow, hold, mutate and use attention--this helps."--Caren Beilin

In CRITIQUE OF PURE REASON, Gabriel Blackwell bends found forms to story, repurposes history, sets mathematics and a programmer's logic to generating emotion and wonder. Blackwell provides us another piece of that most illusive of proofs, a verification of our shared humanity, captured here in all its absurdity and horror and glory.

Part Borges, part Calvino, part Hieronymous Bosch, the eerie fictions of Gabriel Blackwell offer warped reflections of domestic lives in turmoil, relationships on the brink.

Though H. P. Lovecraft is famed mostly for the influential body of short fiction he left behind, he was also one of the most prolific correspondents of his time, the author of more than 100,000 letters. Undiscovered and unpublished until now, The Natural Dissolution of Fleeting-Improvised-Men is the last letter that Lovecraft wrote, finishing it just days before his death on March 15, 1937. This edition features extensive notes from the editor, Gabriel Blackwell.

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From the website: "Imagination is more important than knowledge," Einstein once said. His desire to open doors, to chart the world, dissect it, understand it, and make order out of chaos, echoes the experience of creation found in writing. Writers, too, work in solitude, inside their heads, solving problems and stitching together worlds. They calculate the geometry of human relationships, the velocity of a falling expectation, the force of a breaking heart. And yet, despite similarities, scientists and writers often find themselves grappling not only with the world but also with one another. Given the overlap of literary and scientific worlds, we at Tin House asked ourselves, why are they at odds? And could we, as a literary magazine, do anything to clear the air? Writers from both camps excitedly took up our challenge and, we think, succeeded in bridging the supposed divide. Andrea Barrett, who has been twining fiction and science for more than twenty years, braids the narrative of one man's single-minded pursuit of genetic coding during the onset of World War II. Synethesia, the curious condition of overlapping senses that causes people to hear colors, or see tastes, seems like the stuff of fiction, but Rachel Riederer's investigation proves it is in fact a very real, and very odd, medical condition. And the poets wrote about everything from nanobots to body doubles. As with writing and science, the act of reading, at bottom, is about exploration, looking at the world through a new lens, be it a microscope or a point of view, and being open to discovery. So join us. Turn the page and unlock something inside you.

A fascinating hybrid work, compiling fragments of criticism, theory, philosophy and fiction, with Hitchcock's masterpiece at the center.