Reviewed by Sarah Gerard

Just forty-three pages in total, Morelia feels expansive. The telescoping structure of the narrative is one reason. In its early pages, the story regularly slips into and opens the parallel realm of the narrator’s dream, which may be real. Renee Gladman expertly pivots on a word or phrase, such that the dream and the reality of the story, as well as a book the narrator reads, are contiguous. The dream and the book are fictional worlds rendering the world in which the narrator moves factual by comparison. Or perhaps this pivoting simply calls attention to the way in which we regularly, as readers, regard fiction as fact; how the line between fact and fiction is arbitrary…