Terese Svoboda is the author of five volumes of poetry and four novels, including Tin God (Nebraska 2006), and, most recently, a nonfiction book, Black Glasses Like Clark Kent: A GI’s Secret from Postwar Japan, winner of the Graywolf Nonfiction Prize. In 2006 she won an O. Henry Award for her short story “80’s Lilies.”

“You have to listen, carefully, to Terese Svoboda’s stories. You have to read them slowly, more than once, sounding the words this way and that, letting yourself interpret, not with logic alone, but using the tools of poetry–association, juxtaposition, metaphor. Even what’s left out can be significant. For these are not so much stories in the traditional sense as tangled situations, networks of convoluted yet precisely controlled language. And you don’t read through them, but into them, going deeper each time.”—Women’s Review of Books|“Trailer Girl has the surreal poetry of a nightmare. . . . Svoboda has written a book of genuine grace and beauty.”—New York Times Book Review|“Unnerve thyself: the violent and enthralling short stories in Terese Svoboda’s Trailer Girl detonate on contact.”—Elissa Schappell, Vanity Fair|“The kind of satisfaction that one gets from [Svoboda’s] stories is quick and blinding, governed more by instinct than reason.”—Francie Lin, San Francisco Chronicle|“Compelling. . . . The language throughout is at once potent and oblique.”—Publishers Weekly|""Written in the style of dreamy prose poems about the alienated and edgy lives of the walking wounded, these stories shimmer and dazzle with an intensity that sometimes creates the feeling of the world as a floating, melting cloud of illusion.""—Cheryl Reeves, Feminist Review

Terese Svoboda is the author of five volumes of poetry and four novels, including Tin God (Nebraska 2006), and, most recently, a nonfiction book, Black Glasses Like Clark Kent: A GI’s Secret from Postwar Japan, winner of the Graywolf Nonfiction Prize. In 2006 she won an O. Henry Award for her short story “80’s Lilies.”

“You have to listen, carefully, to Terese Svoboda’s stories. You have to read them slowly, more than once, sounding the words this way and that, letting yourself interpret, not with logic alone, but using the tools of poetry–association, juxtaposition, metaphor. Even what’s left out can be significant. For these are not so much stories in the traditional sense as tangled situations, networks of convoluted yet precisely controlled language. And you don’t read through them, but into them, going deeper each time.”—Women’s Review of Books|“Trailer Girl has the surreal poetry of a nightmare. . . . Svoboda has written a book of genuine grace and beauty.”—New York Times Book Review|“Unnerve thyself: the violent and enthralling short stories in Terese Svoboda’s Trailer Girl detonate on contact.”—Elissa Schappell, Vanity Fair|“The kind of satisfaction that one gets from [Svoboda’s] stories is quick and blinding, governed more by instinct than reason.”—Francie Lin, San Francisco Chronicle|“Compelling. . . . The language throughout is at once potent and oblique.”—Publishers Weekly|""Written in the style of dreamy prose poems about the alienated and edgy lives of the walking wounded, these stories shimmer and dazzle with an intensity that sometimes creates the feeling of the world as a floating, melting cloud of illusion.""—Cheryl Reeves, Feminist Review

Terese Svoboda is the author of five volumes of poetry and four novels, including Tin God (Nebraska 2006), and, most recently, a nonfiction book, Black Glasses Like Clark Kent: A GI’s Secret from Postwar Japan, winner of the Graywolf Nonfiction Prize. In 2006 she won an O. Henry Award for her short story “80’s Lilies.”

“You have to listen, carefully, to Terese Svoboda’s stories. You have to read them slowly, more than once, sounding the words this way and that, letting yourself interpret, not with logic alone, but using the tools of poetry–association, juxtaposition, metaphor. Even what’s left out can be significant. For these are not so much stories in the traditional sense as tangled situations, networks of convoluted yet precisely controlled language. And you don’t read through them, but into them, going deeper each time.”—Women’s Review of Books|“Trailer Girl has the surreal poetry of a nightmare. . . . Svoboda has written a book of genuine grace and beauty.”—New York Times Book Review|“Unnerve thyself: the violent and enthralling short stories in Terese Svoboda’s Trailer Girl detonate on contact.”—Elissa Schappell, Vanity Fair|“The kind of satisfaction that one gets from [Svoboda’s] stories is quick and blinding, governed more by instinct than reason.”—Francie Lin, San Francisco Chronicle|“Compelling. . . . The language throughout is at once potent and oblique.”—Publishers Weekly|""Written in the style of dreamy prose poems about the alienated and edgy lives of the walking wounded, these stories shimmer and dazzle with an intensity that sometimes creates the feeling of the world as a floating, melting cloud of illusion.""—Cheryl Reeves, Feminist Review