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Moderate to Poor, Occasionally Good
A Granta Best Young British NovelistThe stunning new collection of stories from the award-winning author of The Liar’s Dictionary and Attrib. and Other Stories.
Granta Best Young British novelist and author of Attrib. and other stories, Eley Williams returns with a subversive and essential collection of short stories exploring the nature of relationships both intimate and transient – from the easy gamesmanship of contagious yawns to the horror of a smile fixed for just a second too long. Whether jostling for attention or ducking to evade it, here characters seek connections not only with each other but also with versions of themselves.
In ‘Cuvier’s Feather’, a courtroom sketch artist delights in committing portraits of their lover to paper but their need to capture likenesses forever is revealed to have darker, more complex intentions. At the centre of ‘Wilgefortis’, a child’s schoolyard crush on a saint marks a confrontation with the reality of a teenage body in flux. An editor of canned laughter loses their confidence and seeks divine intervention; an essayist annotates their thoughts on Keats by way of internet-gleaned sex tips.
Moderate to Poor, Occasionally Good hums with fossicking language and ingenious experiments in form and considers notions of playfulness, authenticity and care as it holds relationships to their sweet misunderstandings, soured reflections, queer wish fulfilments and shared, held breaths.
Praise for Eley
'She is a writer for whom one struggles to find comparison, because she has arrived in a class of her own’ Sarah Perry, author of The Essex Serpent
'Funny, playful and utterly bravura’ Melissa Harrison, Financial Times
'It's exhilarating to dive into the associative rush of Williams's writing’ Vanity Fair
Granta Best Young British novelist and author of Attrib. and other stories, Eley Williams returns with a subversive and essential collection of short stories exploring the nature of relationships both intimate and transient – from the easy gamesmanship of contagious yawns to the horror of a smile fixed for just a second too long. Whether jostling for attention or ducking to evade it, here characters seek connections not only with each other but also with versions of themselves.
In ‘Cuvier’s Feather’, a courtroom sketch artist delights in committing portraits of their lover to paper but their need to capture likenesses forever is revealed to have darker, more complex intentions. At the centre of ‘Wilgefortis’, a child’s schoolyard crush on a saint marks a confrontation with the reality of a teenage body in flux. An editor of canned laughter loses their confidence and seeks divine intervention; an essayist annotates their thoughts on Keats by way of internet-gleaned sex tips.
Moderate to Poor, Occasionally Good hums with fossicking language and ingenious experiments in form and considers notions of playfulness, authenticity and care as it holds relationships to their sweet misunderstandings, soured reflections, queer wish fulfilments and shared, held breaths.
Praise for Eley
'She is a writer for whom one struggles to find comparison, because she has arrived in a class of her own’ Sarah Perry, author of The Essex Serpent
'Funny, playful and utterly bravura’ Melissa Harrison, Financial Times
'It's exhilarating to dive into the associative rush of Williams's writing’ Vanity Fair
- GenresShort StoriesFiction
193 pages, Kindle Edition
Published July 18, 2024
12 people are currently reading
366 people want to read
About the author
Eley Williams
22 books213 followersELEY WILLIAMS is a Fellow of the Royal Society of Literature. She is the author of Attrib. and Other Stories and The Liar's Dictionary. Her work has appeared in The Penguin Book of the Contemporary British Short Story, Liberating the Canon, The Times Literary Supplement, and London Review of Books. She lives in London.
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Displaying 1 - 29 of 29 reviews
March 20, 2025
Shortlisted for The Swansea University International Dylan Thomas Prize
There was a white balloon and a strange man in my garden, neither one tethered to the other. The moon was as bright and silly as you might expect.
During the evening I thought the air felt charged, as if squaring up for rain or something more pushy. Once the indigos and sky-threads of apricot and pink had tidied themselves away, smoothed and patted down their corners beneath the line of the garden fence, I made sure to stare directly at the moon in case it got any funny ideas. I did not expect a man and a balloon to be there on the patio beneath my window.
I did not look directly at the balloon for fear of bursting it, and did not want to look at the man for fear of fear, so I moved to the centre of my window and glared at the moon instead, treating it as a balloon-by-proxy and ambassador for the man.
'Moderate to Poor, Occasionally Good' is the second collection of stories from Eley Williams. Her brilliant first 'Attrib. and other stories' won the Republic of Consciousness Prize in 2018, a prize which I helped judge, as well as the UK's longest-standing prize, the James Tait Black Memorial Prize for Fiction. This was followed by a novel, 'Liar's Dictionary'.
And Williams was also chosen as one of Granta 163: Best of Young British Novelists 5 in the 5th decennial edition in 2023, the piece included in the anthology, 'Rostrum', one of the 19 pieces (typically c10 pages long) included in this collection.
Williams first work was published by a small independent press, Influx Press, before her success led her to move to 4th Estate, part of Harper Collins, and it was lovely to see her acknowledgements featuring many press and individuals from the indy scene, including Isabel Waidner who featured Williams in their epochal 'Liberating The Canon: An Anthology of Innovative Literature', a work whose significance for future literary achievements deserves mention alongside Granta's list. And for someone whose vocabulary is so rich, Williams pays the ultimate compliment to Kit Caless and Gary Budden of Influx: "I have brohen an online thesaurus trying to find grateful synonyms."
This is a varied collection - stories from the realistic to the surreal, the poignant to the comic, some with a narrative arc others less so - but Williams love of, and use of, language is a constant, as with her two previous books. The reader - and indeed some of the characters - will find themselves reaching for a dictionary more than once, and picking up some succulent new vocabulary.
One feature is individuals with quirky jobs - one story is narrated by a courtroom artist and another centres around a dubber of canned laughter onto soundtracks, who takes his inspiration, indeed his Job satisfaction (pun very much intended) from the Book of Job 39:25. And the title story, as would be clear to anyone who has ever listened to Radio 4, is narrated by one of the people responsible for the shipping forecast.
Some of the locations particularly resonated with me. One story is set in the Bentalls Centre in Kingston where I often shop and home, as the story reminds us, of the largest single truss escalator in the world:
Another has a character have a recurrent nightmare feature a macaron shop (not named but Ladurée) in Burlington Arcade, which I coincidentally walked past an hour after finishing the book:
Not as breathtakingly original as Attrib. and Other Stories, perhaps because Williams is now more of a known quantity, but still very worthwhile.
There was a white balloon and a strange man in my garden, neither one tethered to the other. The moon was as bright and silly as you might expect.
During the evening I thought the air felt charged, as if squaring up for rain or something more pushy. Once the indigos and sky-threads of apricot and pink had tidied themselves away, smoothed and patted down their corners beneath the line of the garden fence, I made sure to stare directly at the moon in case it got any funny ideas. I did not expect a man and a balloon to be there on the patio beneath my window.
I did not look directly at the balloon for fear of bursting it, and did not want to look at the man for fear of fear, so I moved to the centre of my window and glared at the moon instead, treating it as a balloon-by-proxy and ambassador for the man.
'Moderate to Poor, Occasionally Good' is the second collection of stories from Eley Williams. Her brilliant first 'Attrib. and other stories' won the Republic of Consciousness Prize in 2018, a prize which I helped judge, as well as the UK's longest-standing prize, the James Tait Black Memorial Prize for Fiction. This was followed by a novel, 'Liar's Dictionary'.
And Williams was also chosen as one of Granta 163: Best of Young British Novelists 5 in the 5th decennial edition in 2023, the piece included in the anthology, 'Rostrum', one of the 19 pieces (typically c10 pages long) included in this collection.
Williams first work was published by a small independent press, Influx Press, before her success led her to move to 4th Estate, part of Harper Collins, and it was lovely to see her acknowledgements featuring many press and individuals from the indy scene, including Isabel Waidner who featured Williams in their epochal 'Liberating The Canon: An Anthology of Innovative Literature', a work whose significance for future literary achievements deserves mention alongside Granta's list. And for someone whose vocabulary is so rich, Williams pays the ultimate compliment to Kit Caless and Gary Budden of Influx: "I have brohen an online thesaurus trying to find grateful synonyms."
This is a varied collection - stories from the realistic to the surreal, the poignant to the comic, some with a narrative arc others less so - but Williams love of, and use of, language is a constant, as with her two previous books. The reader - and indeed some of the characters - will find themselves reaching for a dictionary more than once, and picking up some succulent new vocabulary.
One feature is individuals with quirky jobs - one story is narrated by a courtroom artist and another centres around a dubber of canned laughter onto soundtracks, who takes his inspiration, indeed his Job satisfaction (pun very much intended) from the Book of Job 39:25. And the title story, as would be clear to anyone who has ever listened to Radio 4, is narrated by one of the people responsible for the shipping forecast.
Some of the locations particularly resonated with me. One story is set in the Bentalls Centre in Kingston where I often shop and home, as the story reminds us, of the largest single truss escalator in the world:
Another has a character have a recurrent nightmare feature a macaron shop (not named but Ladurée) in Burlington Arcade, which I coincidentally walked past an hour after finishing the book:
Not as breathtakingly original as Attrib. and Other Stories, perhaps because Williams is now more of a known quantity, but still very worthwhile.
November 17, 2025
where does she get, store and interrogate all her ideas!
August 30, 2024
I'm sorry to say the title reflects the content a bit too closely? I loved Attrib and The Liar's Dictionary so I was quite excited about this one, and don't get me wrong, this book is well-written, I just felt that most of the stories fell really flat?
I loved Squared Circle and enjoyed a couple of others, but couldn't grasp the point of a few others.
I loved Squared Circle and enjoyed a couple of others, but couldn't grasp the point of a few others.
April 10, 2025
I enjoyed this collection of stories, at times bizarre, uncanny, sad and amusing.
I especially liked 'Clarity' for its theme of revenge and the use of pickle on a sandwich as a plot device.
I especially liked 'Clarity' for its theme of revenge and the use of pickle on a sandwich as a plot device.
Read
October 5, 2024If you’ve read Eley Williams ' award-winning and magnificent collection Attrib. and other stories and her hilarious debut novel The Liar’s Dictionary (which I can’t believe came out three years ago), you’ll know that Williams is an absurdist with a fascination (obsession) for the oddities and anomalies of the English language. If you haven’t, you could address the issue right now by picking up her excellent new collection: Moderate to Poor, Occasionally Good.
In a concise space—most of these stories are around two thousand words—Williams can capture her characters' anxieties, obsessions, and concerns (however fleeting). Relationships are central to many of these pieces, whether it’s the after-effects of a break-up, such as the case in the opening story “Scrimshaw”, which has the great opening line: “Not knowing what else to do, I send you walruses”, or the disquieting and awkward “Message” where the narrator, despite being warned off, still plans to propose to their partner, or the astonishing title story, where a broadcaster delivering the shipping forecast breaks from the script to detail their recent, upsetting break-up.
Then there’s the weirder stuff, like the spooky “Tether” (“There was a white balloon and a strange man in my garden, neither one tethered to the other.”), and the even creepier and strange “Escape Room”, where the custodian of an Escape Room won’t let the latest group leave, and the bizarre, yawn (yes, yawn) inspired rules that make up “‘Positive Feedback’: A Game.”
And because this is Eley Williams, there’s a constant play with language, whether it’s ambiguous French phrases or obsessing over the meaning of words like “Ventifact” and “Dimity.”
These stories are filled with weirdness, joy, awkwardness, and curiosity. Eley Williams is a treasure, and I can’t wait to see what she does next.
In a concise space—most of these stories are around two thousand words—Williams can capture her characters' anxieties, obsessions, and concerns (however fleeting). Relationships are central to many of these pieces, whether it’s the after-effects of a break-up, such as the case in the opening story “Scrimshaw”, which has the great opening line: “Not knowing what else to do, I send you walruses”, or the disquieting and awkward “Message” where the narrator, despite being warned off, still plans to propose to their partner, or the astonishing title story, where a broadcaster delivering the shipping forecast breaks from the script to detail their recent, upsetting break-up.
Then there’s the weirder stuff, like the spooky “Tether” (“There was a white balloon and a strange man in my garden, neither one tethered to the other.”), and the even creepier and strange “Escape Room”, where the custodian of an Escape Room won’t let the latest group leave, and the bizarre, yawn (yes, yawn) inspired rules that make up “‘Positive Feedback’: A Game.”
And because this is Eley Williams, there’s a constant play with language, whether it’s ambiguous French phrases or obsessing over the meaning of words like “Ventifact” and “Dimity.”
These stories are filled with weirdness, joy, awkwardness, and curiosity. Eley Williams is a treasure, and I can’t wait to see what she does next.
June 29, 2025
Didn’t love this. The collection traces unusual and unusually protracted relationships - between two wrestlers maintaining contact decades after a decisive fight - or surreal modes of communication - a lovers’ tiff arbitrated over the shipping forecast - and I admired its inventiveness, but the punning, self-conscious textuality felt gimmicky (like the more trying portions of Ali Smith) and evacuated depth. The story about an elderly couple discovering and enacting unspoken desires via porn search histories was wonderful. There were some other good ones I remember more vaguely. Otherwise I was driven to some of my phone’s more luridly dopaminergic games to keep myself going.
This entire review has been hidden because of spoilers.
April 30, 2025
I was first introduced to Eley Williams through her novel The Liar’s Dictionary, which I read for the Samuel Johnson Reading Circle and enjoyed very much. I was then introduced to Eley Williams herself at the meeting of the Reading Circle and found her very cool. For this reason I read her first short story collection, Attrib. and liked those more than the novel. Although there was certainly a pattern to an Eley Williams short story, it’s a fun one and there was plenty of variation.
An Eley Williams short story generally takes place before or after an event and the narrator, usually first person, finds themselves spiralling around a little detail, an image, or often a linguistic quirk related to that event. We get the narrator’s thought process, often in extremely fun and playful prose but don’t usually reach their conclusion and have to draw it for ourselves. There’s an element that they are fun games of language and concept where the reader plays with the narrator.
Those same patterns occur in Moderate to Poor, Occasionally Good but they do feel slightly more mechanical. The tendencies and rhythms of the first set of stories seems to grow organically from the kind of writer Williams is, where some of the stories in this collection feel like she’s discovered the writer she is and is now trying to replicate it. That said, the narrative voices do have a range in this collection, some being breathless run-ons, some being tight lists, one presented as the rules of a game.
There’s still a lot to enjoy in this collection, though. The first story, ‘Scrimshaw’ manages to make a story out of a very common piece of modern communication, the casual sending of fun little links and messages online to a friend. The narrator likes walruses, finding them an animal ‘made for Edward Lear’, but the walrus link she sends might not be saying what she wanted - I found it funny. I was also amused at the punchline in ‘Rostrum’, involving a waving woman and the heads of prawns, though was confused by the set up. ‘Wilgefortis’ namechecks my favourite saint (though I prefer the name Unccumber), and there was one about the sandman that creeped me out.
I think short stories are one of the most difficult forms of writing, and Eley Williams creates stories that I can’t imagine other people writing. I’ll definitely get the next collection.
An Eley Williams short story generally takes place before or after an event and the narrator, usually first person, finds themselves spiralling around a little detail, an image, or often a linguistic quirk related to that event. We get the narrator’s thought process, often in extremely fun and playful prose but don’t usually reach their conclusion and have to draw it for ourselves. There’s an element that they are fun games of language and concept where the reader plays with the narrator.
Those same patterns occur in Moderate to Poor, Occasionally Good but they do feel slightly more mechanical. The tendencies and rhythms of the first set of stories seems to grow organically from the kind of writer Williams is, where some of the stories in this collection feel like she’s discovered the writer she is and is now trying to replicate it. That said, the narrative voices do have a range in this collection, some being breathless run-ons, some being tight lists, one presented as the rules of a game.
There’s still a lot to enjoy in this collection, though. The first story, ‘Scrimshaw’ manages to make a story out of a very common piece of modern communication, the casual sending of fun little links and messages online to a friend. The narrator likes walruses, finding them an animal ‘made for Edward Lear’, but the walrus link she sends might not be saying what she wanted - I found it funny. I was also amused at the punchline in ‘Rostrum’, involving a waving woman and the heads of prawns, though was confused by the set up. ‘Wilgefortis’ namechecks my favourite saint (though I prefer the name Unccumber), and there was one about the sandman that creeped me out.
I think short stories are one of the most difficult forms of writing, and Eley Williams creates stories that I can’t imagine other people writing. I’ll definitely get the next collection.
September 12, 2024
The vivid stories in this book could well be the output of a creative writing class. This is unsurprising, as the author is a lecturer in creative writing. As such, each reader will decide what works and what doesn’t.
Some ooze a sense of surreal menace, such as Tether, in which a stranger and an unconnected white ballon appear in a garden at night. Others invite the reader to question the personal relationships described. In Message, a couple meets for their annual lunch in the same restaurant. They have celebrated thirty years together. A marriage proposal is in the air (literally) as a plane draws a ‘Will you marry me?’ vapour trail across the sky. All is not well for unspecified reasons.
The title story is one of the best I have read. Narratives based on the poetry of the Met Office weather forecast are not uncommon. Here, a radio weather forecaster broadcasts an apology to their partner, whom they hope is a listener, for a row earlier that day while musing on connections to the names of the forecast locations. The broadcaster’s words and thoughts allude to their child. The subtle, moving monologue alludes to the likely cause of the argument.
The writing style is vividly descriptive, and the text contains several words I was unfamiliar with, including, appropriately, ekphrasis, a vivid description of a scene or work of art. It will appeal to readers who seek original ideas and challenging content.
I also recommend The Liar's Dictionary, which I have reviewed elsewhere.
Some ooze a sense of surreal menace, such as Tether, in which a stranger and an unconnected white ballon appear in a garden at night. Others invite the reader to question the personal relationships described. In Message, a couple meets for their annual lunch in the same restaurant. They have celebrated thirty years together. A marriage proposal is in the air (literally) as a plane draws a ‘Will you marry me?’ vapour trail across the sky. All is not well for unspecified reasons.
The title story is one of the best I have read. Narratives based on the poetry of the Met Office weather forecast are not uncommon. Here, a radio weather forecaster broadcasts an apology to their partner, whom they hope is a listener, for a row earlier that day while musing on connections to the names of the forecast locations. The broadcaster’s words and thoughts allude to their child. The subtle, moving monologue alludes to the likely cause of the argument.
The writing style is vividly descriptive, and the text contains several words I was unfamiliar with, including, appropriately, ekphrasis, a vivid description of a scene or work of art. It will appeal to readers who seek original ideas and challenging content.
I also recommend The Liar's Dictionary, which I have reviewed elsewhere.
August 20, 2024
Williams has a fascination with niche careers and word play. The short stories feature the relationship outpourings of the shipping forecast reader on air, a courtroom sketch artist drawing someone they recently dated, and the most poignant of all I found was the wrestler who annually phones his aging opponent on the anniversary of “retiring” him from the ring.
September 20, 2024
To be fair, this short story collection wasn’t bad per se. Quite the contrary. Like the author’s two other books, those published prior, Moderate to Poor was intelligent and experimental. However, the wordplay in this book felt more contrived and stilted to me, which made finishing it a bit of a struggle. Which I nonetheless overcame!
August 4, 2025
4.5; a very, very interesting read!! unexpected in a particularly pleasant way, went into it not knowing what to look forward to exactly - though it often reminded me of a present-day 'Dubliners'. this whole read was both whimsical + randomly upbeat, and heartbreaking at times, with passages that hit you so unexpectedly you cannot help but go over and over them again.
August 20, 2024
I really struggle with short stories. What I read was excellent, but the overall feeling is that of being repeatedly jerked into my seatbelt. Not a comment on Williams, whose work and playfulness I love, but more a comment on the form.
October 1, 2025
Varied quite poetic stories using metaphor and the sound of words to cover a wide range of topics from dreams, representation /perspective, death and loss, politics through to love. Amazing use of vocabulary.
October 19, 2025
Love the word-play - the obsession with language, its roots and absurdities. Body language as well as actual words. Communication and mis-communucations are a common theme running through all stories. Also contains walruses, yawns, escape rooms and a bearded female saint.
August 25, 2024
Light, witty, dark, serious stories, full of poetic conceit. Strong, frequently brilliant.
August 29, 2024
Vissa noveller riktigt bra, fina och märkliga på ett bra sätt. Andra bara..svåra typ? Krävdes full uppmärksamhet så att säga
Want to read
September 23, 2024i know nothing about this collection but i instantly added it to my tbr bc of the title alone and the fact that i am listening to the shipping forecast as we speak
December 14, 2024
Short stories, all with a savour of and play around words.
December 20, 2024
Impulsive.
March 10, 2025
The title of this book is my review.
April 12, 2025
I was just bored
June 22, 2025
I laughed at every single story, that is all.
October 27, 2025
An easy read with fun word play. Some good stories, some which didn't really go anywhere.
November 1, 2025
Intriguing read
August 2, 2024
The title of the book alone deserves a star. The story entitled Moderate to poor, occassionally good deserves 5 stars; some of the other stories don't work quite so well. Why Goodreads thinks Eley Williams is unknown given that her name is on the cover of the book is a mystery.
March 20, 2025
Shortlisted for the 2025 Dylan Thomas Prize
Eley Williams brilliant debut short story collection “Attrib.” was the Winner of the 2017 Republic of Consciousness Prize (for which I was a judge) and included in the Guardian as my Book of the Year for 2017 (https://www.theguardian.com/books/201...). It subsequently went on to win the James Tait Prize - Britain's longest running literary prize and its first ever short story winner.
Her debut novel – “Liar’s Dictionary” – I described in my review as Williams’ Wonderfully Whimsical Wordsmithery.
And since then she has been recognised as one of the 20 writers on the prestigious decennial Granta Best Young British Novelists lists – and the story she then submitted for the subsequent Granta issue “Rostrum” (ostensibly about a woman failing to enter an office building and for me reminiscent of “Alighting” in her earlier collection) is one of 19 stories in this new short story collection (typically of around the 8-12 page length, the shortest 6 the longest 18).
“Sonant” about a sound editor working on canned laughter equally evoked for me the Foley Artist of the titular story in “Attrib.” as did, to a lesser extent, “Cuvier’s Feather” about a Courtroom artist.
And more generally the collection is very much in the tradition of both “Attrib.” and “Liar’s Dictionary” – lexicographical literature (unusual names, definitions, wordplay all abound) with interior stories (normally they take place almost entirely in the mind of the first or third party protagonist) with a sense of pathos and occasional hidden menace. Dialogue is rare or typically absent – one of the main stories about communication “Words of Affirmation” (taken from the Five Love Languages) a husband re-opens communication with his wife, in a marriage which has become devoid of love, by way of the search history on his laptop.
If the collection lacks anything I think it is the sheer beauty of “Attrib.”’s “Smote” – with the two most impactful stories being “Message” about a failed marriage proposal via light aircraft writing and “Squared Circle” about wrestler who every year rings another older and now dying wrestler on the anniversary of the epoch defining (or given its faked - epoch defined) fight between them.
But overall, Williams remains one of my favourite writers – and the real impact of her stories is in the cumulative power of reading them.
Eley Williams brilliant debut short story collection “Attrib.” was the Winner of the 2017 Republic of Consciousness Prize (for which I was a judge) and included in the Guardian as my Book of the Year for 2017 (https://www.theguardian.com/books/201...). It subsequently went on to win the James Tait Prize - Britain's longest running literary prize and its first ever short story winner.
Her debut novel – “Liar’s Dictionary” – I described in my review as Williams’ Wonderfully Whimsical Wordsmithery.
And since then she has been recognised as one of the 20 writers on the prestigious decennial Granta Best Young British Novelists lists – and the story she then submitted for the subsequent Granta issue “Rostrum” (ostensibly about a woman failing to enter an office building and for me reminiscent of “Alighting” in her earlier collection) is one of 19 stories in this new short story collection (typically of around the 8-12 page length, the shortest 6 the longest 18).
“Sonant” about a sound editor working on canned laughter equally evoked for me the Foley Artist of the titular story in “Attrib.” as did, to a lesser extent, “Cuvier’s Feather” about a Courtroom artist.
And more generally the collection is very much in the tradition of both “Attrib.” and “Liar’s Dictionary” – lexicographical literature (unusual names, definitions, wordplay all abound) with interior stories (normally they take place almost entirely in the mind of the first or third party protagonist) with a sense of pathos and occasional hidden menace. Dialogue is rare or typically absent – one of the main stories about communication “Words of Affirmation” (taken from the Five Love Languages) a husband re-opens communication with his wife, in a marriage which has become devoid of love, by way of the search history on his laptop.
If the collection lacks anything I think it is the sheer beauty of “Attrib.”’s “Smote” – with the two most impactful stories being “Message” about a failed marriage proposal via light aircraft writing and “Squared Circle” about wrestler who every year rings another older and now dying wrestler on the anniversary of the epoch defining (or given its faked - epoch defined) fight between them.
But overall, Williams remains one of my favourite writers – and the real impact of her stories is in the cumulative power of reading them.
March 10, 2025
*proof copy*
i agree with another review that said the title reflects the content a little too closely. i enjoyed a couple of these stories but most of them felt like riddles i was too stupid to understand? also please take away this author’s thesaurus
i agree with another review that said the title reflects the content a little too closely. i enjoyed a couple of these stories but most of them felt like riddles i was too stupid to understand? also please take away this author’s thesaurus
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