Ellen Akins is the author of the novels Home Movie (1988), Little Woman (1990), Public Life (1993), and Hometown Brew (1998), and the short story collection World Like a Knife (1991). She has published short stories in The Southern Review, The Georgia Review, The Missouri Review, and The Southwest Review, which (the last two) awarded her their biennial short fiction awards. Her work has also appeared in the online publications Perigee and Serving House Journal. She has written reviews for numerous publications and is a regular contributor to The Minneapolis Star Tribune. Akins is the recipient of awards from the National Endowment of the Arts, the Ingram-Merrill Foundation, the National Academy of Arts and Letters, and the Wisconsin Arts Board. She teaches in the low-residency MFA program at Fairleigh Dickinson University.
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Home MovieA Novel
His hand had fallen as she moved. His expression was perplexed, one she’d seen a hundred times on teachers’ faces when they turned from the problem under study to that of the class’s persistent incomprehension. She turned away, to her flowers, and when she straightened, felt the shift in his gaze as if she’d been inside of it and now it were being withdrawn, unpinning her will, that went to him and away and stayed all at once. He said, “I’ve frightened you.”
Home Movie:A Novel -
Home MovieA Novel
“Yes,” he said. “Here you are. Because you don’t believe it, do you?” She wanted not to, whatever it was, and, considering her, he seemed to be crediting her with knowing. “That there’s a findable future?” he said. “Or a world somewhere else with apparently pointless space between here and there and nothing along the way except repeated attacks on your senses. Which you’ll eventually be able to blame for making you so dull that you can’t recognize the future or the world once you’ve found it.” Now even her speech was spellbound, and she only looked at him, with the world shrinking to an understanding between them, intimate and completely foreign to her. “When, to know the world, all a man really needs is to be known,” he said. “And I know you.”
Home Movie:A Novel -
Home MovieA Novel
He didn’t want to sleep. If he slept and the nightmare didn’t appear, he’d have to admit as fact what so far he only suspected and could still dismiss as fancy: It wasn’t a nightmare. It never was. It was the essence of daily life, stripped of the hum and shine and glancing distraction that made it glibly livable. When a nightmare emerged, the surface was merely wearing thin, a man was less and less satisfied with going willy-nilly across it, less and less convinced that moving light was an effective evasion, that what he could evade so easily would ever have mired him anyway. Underneath was helplessness, and a whole shifting sea of women couldn’t save him from the one he was bound to find, to fall for and finally see what those women with their strange dark eyes saw in him.
Home Movie:A Novel
"The most adventurous and original first novel of recent months . . . Akins's bluntness is winning, and what she's saying goes straight to the heart of things . . . A kind of extended meditation on the dialectic of stripping and covering up . . . Home Movie has the richness and tortured complexity of the youthful sensibility at its best." —Terrence Rafferty, The New Yorker
"Home Movie attests to Ms. Akins's gift for manipulating language and ideas, her eagerness to look at the familiar through a prism of her invention and manufacture." —Michiko Kakutani, The New York Times
"For a novel about superficiality, Ellen Akins's Public Life is startlingly—seductively—deep. Public Life is intense, idea-dense, and infused with a sense of tragic urgency. Once you've experienced the making of a president, Akins-style, you'll never watch a presidential campaign—or a president—quite the same way again." —Chicago Sun-Times