Toronto-based Lisa Foad's writing is lucid, intoxicating and original. Part poetry, part prose, The Night Is A Mouth tumbles through a myriad of sex, drugs and longing. The post-modern short story collection echoes works by Lynda Barry, Julie Doucet and Daphne Gottlieb, but is in a league of its own.
An earlier version of "Violent Collections, Anxious Supplements," appeared in Red Light Superheroes, Saints, and Sluts, edited by Anna Camilleri. The subtle changes tighten and strengthen the story, while highlighting that all writing is process. Each revision, whether it is an addition or subtraction, creates another version, raw narrative or side to the story.
Foad explores various aspects of her carnival-ride cast of characters, as they are brought to life with the gritty, bleak, wild and beautiful reality of being human. She writes about the aftermath of broken love and the predictable results of too much wine in "Expulsion For Emetophobia." Various aspects of sex and sexuality unravel throughout the collection, found in polarizing moments, varying from a horrific rape to the discovery of culinary-based masturbation in the story "Lost Dogs." Foad is bold, brash and fearless. No subject is too dark to shed some literary light on.