A young lesbian poet's confused love.

A low level NASA employee struggles with the choice to reveal a massive conspiracy.

"It has to be true. He has to be right. He knows how it’s going to go down; he can see it all spread out before him. The files will come as a shock to the Department Head, who will panic. The bosses will tell him: If you’re loyal, you’ll take this to the grave, Milton. You’ll keep your silence and be a hero. Milton will say, no, it’s bigger than that. It’s bigger than all of us."

An addict navigates 1980s Detroit.

A punk heroin addict navigates 1980s Detroit.

"About an hour later, Harwell and Rollo were squatting (literal) in their squat (figurative) on Broadville, about a mile from the convenience store that had just fallen victim to their considerable wrath. They hadn’t said a word longer than four letters to each other since sprinting away from the Quality Dairy, and for the last thirty minutes they’d been listening for any movement outside, not sure if they’d been followed, or if Chavo and the night manager had enough information about them gathered from their several months of patronage to know where they hung their heads."

A boy's crush is complicated by his parents' troubled marriage.

"His father offered him the bag of pretzels and he took one. He thought his father might say something else, about Monica, or the movies, but he didn’t. They walked down Main in the glow of empty shop windows, taking their time, the only people out and about tonight. If his mother wasn’t ready for them at home it wouldn’t be any good to go back now. 'Do men and women think alike?' Greg said."

An experimental story of travel, quotations, and Alfred Hitchcock's Vertigo.

"Two scenes intervene between Cypress Point and San Juan Bautista: one in Midge’s apartment, when Midge reveals her self-portrait-as-”Portrait of Carlotta” to Scottie, and, following it, a scene in Scottie’s apartment, “early dawn” the following day, when Madeleine comes to visit him to tell him about her dream. One scene attempts to conceal what it in actuality reveals, the other conceals that which it is supposed to reveal; Midge’s feelings for Scottie are clearest here, where her gesture is meant to be seen as ironic, and Madeleine’s are most calculated in the scene following it, just when she is supposed to be at her most vulnerable (“supposed to” according to her script, that is, the one written by Elster)."