Masha Tupitsyn's debut collection of short stories is itself a kind of monster; a hybrid constructed from fiction, personal narrative, film criticism, and feminist theory. Tupitsyn seamlessly melds intellectual thought with poignant private experience as she develops solemn and striking female voices. In her first story Diegesis, (World of Fiction) the narrator's body and the camera become one,
It's attached to me, or in me, or behind me, and I know I'm being
watched, but by whom? I am half seer/half seen.
Throughout the book there is this sense of inside and outside at once and Tupitsyn likens films to dreams, as both are steeped in our subconscious fears and desires.