"Perhaps one of Goldstein’s greatest achievements in this slim, provocative (and beautifully designed) collection of proses is her consistent, dark and at times terrifying tone (terror as suggestive; horror as explicit—according to Anne Radcliffe’s “On the Supernatural in Poetry”), sustained through a consistent pattern of narration—no exposition, a sequence of action with or without a climax, and overshadowed by dodgy yet curiously vivid, heavily auditory-based depictions. Goldstein’s tone, along with these violent, intelligent, and suggestive yet playful and inventive little stories make Fables an outstanding candidate for any poetry/prose lover’s bookshelf." (Tristan Beach, The Conium Review). Read the entire review.
At Specter Magazine, Brian Oliu reviews Sarah Goldstein's *Fables* (Tarpaulin Sky Press, 2011): "A gorgeous intertwining of allegorical stories presented in tiny fragments, dare I say breadcrumbs!, that display a horrifying yet beautiful world where mayors keep bones in boxes and ghosts enter through the beaks of birds."
Sarah Goldstein's *Fables* (Tarpaulin Sky Press, 2011) is reviewed at The Iowa Review: "Goldstein’s vision and approach is wholly new. Her work in this collection is more than translation and transcription: Fables contains poems that whisper tradition but fully stand on their own."
In Digest Magazine's InDefinite Podcast Episode #22 features Sarah Goldstein reading from her debut fiction collection, Fables (Tarpaulin Sky Press, 2011).
At The Rumpus, Nick Sturm reviews Sarah Goldstein's *Fables* (Tarpaulin Sky, 2011): "Horrifying and humbling in their imaginative precision.... Antiquated elements mix with contemporary moments of horror to create a wholly new kind of fable ... exploring the liminal spaces between human and nonhuman, natural and supernatural, and ripping open the differences to see what bleeds out..... Be sure not to leave this one laying out for the kids."
Open Letters Monthly interviews Sarah Goldstein, author of *Fables*, from Tarpaulin Sky Press; "I really did want to use Grimm’s fairy tales as a starting point for some of the Fables, and so I deliberately tried to ground them and give them a sense of specificity (even if it’s not always a recognizable time and place) rather than have them “float” (to use your excellent description) in an abstracted way. I was also trying to simplify my writing … and I know that sounds strange, but it was almost an exercise: how compact can I make this piece of writing? How much can I get across in one paragraph? In just a few sentences?"