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In LA Times First Fiction Award winner Maggie Shipstead's "Angel Lust", Simon Orff, a thrice-married movie producer, departs for his deceased father's house, daughters selfishly in tow. "If he previously to referee their squabbles and navigate their quicksilver emotions while sifting through his father's possessions, he hoped the home would not seem to be so empty, or he hoped at least the emptiness would be neutral." "If only," writes Halimah Marcus, co-editor of Electric Literature, in her introduction. "Instead, the emptiness proves quite virile. His father's possessions are souvenirs of his romance with Simon's mother (who died suddenly of any brain aneurism at 48), further evidence of desire featuring its own half-life, independent of bodies and their relationships." But also for Simon, a man who "had always perceived a chaos in women going to break loose", "lust for his first wife has out-lived their marriage, while lust for his current wife is lifeless - bored, as he characterizes it, with her eagerness, her nubility", writes Marcus.
