About Book Marks
Kea Krause Kea Krause's work has appeared in The Believer, The Toast, VICE, Broadly, The Rumpus, Narratively and The Columbia Journal Online, has been anthologized in The Best American Science and Nature Writing 2016 and The Best American Travel Writing 2016. She holds an MFA in creative nonfiction from Columbia University, where she was a Graduate Chair's Fellow and taught undergraduate creative writing. She was born and raised in the Pacific Northwest and now lives in Brooklyn, New York. Kea can be found on Twitter @KeaMKrause
Recent Reviews
Melissa Febos
Rave The Rumpus \"With each new piece Febos bends time. As she explores her past, recalling her brother’s struggles with mental health or her family’s trip to Egypt to visit her sea-captain father, she builds on the story of her fraying relationship with Amaia, with each essay serving as a foundation for the next ... For me, some of her most resonant passages come in the first essay, \'The Book of Hours.\' Shifting through different parts of her life, Febos describes the shelter she has always taken in stories ... No subject is off-limits to Febos. She authorizes her reader to be braver, to dig deeper into their own secrets and to research those secrets in history. It is the act of keeping secrets that is dangerous, not the act of telling them. Confession is freedom. In combining research with her narrative, Febos is staking claim to her own existence.\
Rob Spillman
Rave The Rumpus Spillman must have felt a great catharsis when writing this book. It is a shrine filled with relics for the people and the art he loves. It quivers with the type of honesty it takes to admit your deepest, most damning secrets. But Spillman isn’t angling for sympathy. Instead he is bold and almost defiant. All Tomorrow’s Parties is a major achievement and a reflection of the epigraph for chapter 59, which is a Denis Johnson quote: 'Write naked. Write from exile. Write in blood.'
Sara Majka
Positive Bookslut Her stories move and undulate across boundaries, intimate like first-person essays, yet enigmatic like fairy tales. This is the book's greatest success: without a distinct form, the stories cannot be held to one; like ghosts, they can travel through walls.