Mariah Stovall

May 28, 2024 | electricliterature.com | Mariah Stovall

Skip to content essays When it comes to body horror, "Drag Me To Hell"’s gross camp terrified me more than "Safe"’s pretty restraint The first time I watched the movie Safe, it was for six minutes, and it was an emergency. I’d written a novel that opens with an invitation to a baby shower. The baby shower was my Chekov’s gun. It had to go off—but it didn’t. The clock was running out. My manuscript needed to be copyedited and sent to the printer ASAP. I was afraid to pull the trigger I knew I...

May 21, 2024 | razorcake.org | Mariah Stovall

May 21, 2024About a third of the way into Mariah Stovall’s dazzler of a debut novel, there’s a scene where one of the characters asks Khaki, the main character, “can you stop speaking in code for like five minutes?” As I read, this idea lodged in my head, because I knew I was going to be reviewing this book—can Mariah Stovall stop speaking in code? Is she speaking code?

Feb 14, 2024 | largeheartedboy.com | Mariah Stovall

In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Previous contributors include Jesmyn Ward, Lauren Groff, Bret Easton Ellis, Celeste Ng, T.C. Boyle, Dana Spiotta, Amy Bloom, Aimee Bender, Roxane Gay, and many others. Mariah Stovall’s novelI Love You So Much It’s Killing Us Both is a stunning debut, a vivid exploration of friendship set against an unforgettable soundtrack.

Feb 13, 2024 | newsbreak.com | Mariah Stovall

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Feb 13, 2024 | lithub.com | Mariah Stovall

Without repetition, there is no music. Entire genres—trap; bachata—rely on reworking characteristic instrumentations, rhythms, and beats, beats that are themselves the stuff of repetition. Blues has its signature chord progressions. Disco and its danceable descendants lean into the power of synthesized loops. Harsh or ambient, noise music confidently gazes in on and repeats itself. Themes, canons, and variations comprise classical compositions.