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Brittney Corrigan is the author of the poetry collections Daughters, Breaking, Navigation, 40 Weeks and most recently, Solastalgia, a collection of poems about climate change, extinction, and the Anthropocene Age (JackLeg Press, 2023). Brittney was raised in Colorado and has lived in Portland, Oregon for the past three decades, where she is an alumna and employee of Reed College. The Ghost Town Collectives is her first short story collection. For more information, visit

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These are short stories whose prose functions somewhat as poems; stories are told but reveal far more depth than the playing out of external plot elements or phenomena, through a magical realism that points to the unnamed, often undervalued and authentically fantastic parts of our interiority. These stories are placed squarely in the contemporary Anthropocene, with an emerging hyper-sensitivity to other-than-human organisms that spawns compassion and behavioral adaptations. Corrigan weaves stories that serve as way stations for small mysteries that echo inside us before moving on. Stories that serve as remedy to eco-grief so pervasive in our unraveling world—complete with both natural and fantastic moments of beauty, intrigue, and open metaphors for the reader's mind to wonder through. Wonder, not wander.

The Ghost Town Collectives collects wonderful, unpredictable tales of loss—lost relationships, lost climates and landscapes, lost possibilities and yet they are always infused with hope and empathy. Caught between the prehistoric and the dystopian future, these protagonists range from human to animal to plant, from the extinct to the mythological to the cryptid. Never played for shock value, always
reated with respect; the measured, vivid prose pulls us in, makes us believe in whatever Brittney Corrigan’s imagination conjures. Polar bear point-of-view? Yes, please. An auction house that could manifest anywhere, depending on the item up for sale? Show me. A tortured orchard? Terrifying. A mammoth brought back by de-extinction? I’m in.

                   — Peter Rock

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