"These flash stories are a veritable bushel of stolen cherries, each one is a delight to read, sweet and best enjoyed in bunches. A slight bitterness follows, we’re too old to enjoy stolen cherries, too grownup to snatch virgin fruit and eat it with unconscious abandon, but the memory of the taste, and the echoes within these stories are still delightful to carry within us afterwards..."
—Nano Fiction

"...its intimate clash of cultures, political and economic antagonisms, and transgressive sexualities are never very far from the surface of these sometimes nostalgic, sometimes bittersweet, often sensual fictions..."
—Urban Graffiti

"For the flash-fiction fan, ADD-suffering reader or David Sedaris admirer: Marina Rubin’s collection of micro-stories, hits all the right notes with its humor, mild perversity and warmth…Poetic, punchy and packed with vignettes, Stealing Cherries will pop your brain..."
—Coachella Valley Independent

"Short and sudden, none longer than a page, these tales are funny and embarrassing and sad and honest. Tradition intersects with cultural displacement as Rubin tells tales of dating mishaps and wardrobe malfunctions. Stealing Cherries is not your typical story of Russian refuseniks—and that’s exactly why we love it…"
—Jewniverse

"Like Russian-born novelists Gary Shteyngart, Lara Vapnyar and David Bezmozgis, Marina Rubin mines her immigrant experience for her fiction, uncovering the universal. Her writing is sparse and precise, yet also lush, with long sentences packed full of life, drama and artistry..."
—Jewish Week

"Rubin is a new voice on the scene and her collection of flash fiction was a revelation…Her writing has such a sharp focus that she successfully captures an event and mood in very few words. While these funny, strange, off-beat works are called fiction, the ones written in the first person read like autobiography. Rubin does an excellent job capturing small, sometimes shocking, moments..."
—The Reporter

"Marina Rubin writes the shortest short stories around – they’re almost prose poems, each filling a rectangle of text on the page. Her stories in Stealing Cherries burst out of their boxes, as she writes with exuberance about her family’s experience as immigrants from the former Soviet Union and of her own later experiences working, traveling and becoming an American..."
—Jewish Woman Magazine

Riveting as a novel, concise as a poem, Stealing Cherries is a narrative picnic spread out like a painting by Manet.
—Jill Hoffman, author of Mink Coat and Jilted

Precisely chiseled blocks of soulful, funny, heart-rending fiction. Every story is like a cherry on top of a cake… or a cocktail.
—Ted Jonathan, author of Bones & Jokes

Each prose poem is like a MetroCard to an exotic land, and all-American as a Chicklet. Rubin steals your heart, right along with the cherries.
—Jennifer Belle, author of High Maintenance and The Seven Year Bitch   

Rubin will take you on a gritty but glamorous tour through New Delhi, Italy, Wall Street, the French Riviera, Grand Canyon, and Brooklyn. . . . And still, you will be the one who's running to catch up with her wit, wisdom, and wondrously poetic narratives.
—Michael Montlack, author of Cool Limbo and editor of My Diva

From concrete poems in the shapes of dresses to her days of the week and exotic port of call sequences, Marina Rubin writes like a combination Akhmatova/Tsvetayeva uprooted to Wall Street and Casablanca and Brighton Beach. Her poems are sinuous, earthy, impish, lyrical, and freighted with the undertow of her Russian heritage. Mystic, worldly, sexy, salted with aphorisms of folklore that butt into the techno-savvy now, Rubin’s LOGIC transforms our tragically beautiful world. Hers is a delightful and delighted voice. Read her!
—Review of Logic, Stephanie Dickinson, author of Road of Five Churches and Half Girl

Marina Rubin’s fast-paced prose poems “Gypsy Punk Ska” and “The Palace” are highlights (of the magazine)… demonstrating the ways in which a deliberate shaping of form really counts, no matter how often we try to pretend it is a happy accident. Somehow these pieces would fail utterly for me as poems in verse-like lines or as narrative with conventional punctuation and formatting. But in their solid unbroken block they somehow work precisely as they should. “a certain five-star hotel in the diplomatic area of new dehli lost my reservation, as a courtesy i was upgraded to the penthouse,” begins “The Palace.” Poems in Skidrow Penthouse tend to be “in your face,” rough around the edges, even violent, with notable exceptions (including the examples above). While I don’t tend to favor this type of work or seek it out, I am able to appreciate the skill and originality in much of what appears here. 
—Review of Skidrow Penthouse, Issue 11, 2010, by Sima Rabinowitz

Thorny Locust is an interesting read. It is a thought-provoking journal that despite being light in the prose section, is one to watch out for if you like a kaleidoscope of poetic styles. “THE ORANGE BUTTERFLY” by Marina Rubin is another poem in this vein. The butterfly is a tangible object, an enamel brooch, and invokes the feelings of the poet towards dreams of grandeur and of a more fulfilling life thanks to a material object.
—Review of Thorny Locust Vol.14 spring/summer 2006, by Fionna Doney Simmonds

I enjoyed the imagery in Marina Rubin's poem "Souk" and the international flavor of her "Alexander 007." In "Souk," the narrator is looking for a husband in an unusual place:  “at the flea market - like an old Ukrainian shawl or a mahogany end-table with a missing leg, he will sit on display…”
—Pace Press article “Alumni and former Aphros editor reviews current issue” by Vita Jimenez

"Once" is a very impressive collection.  I particularly liked "This World" (which I believe I published) and "The World According to Mulya."  Looks like Marina Rubin is on her way to an impressive body of work! 
—Review of Once, Jeff Fleming, editor of Cranial Tempest

I think it's a wonderful first book, full of all sorts of interesting and moving things.  I hope--and am certain that Marina Rubin will keep writing, and keep publishing.
—Review of Ode of Hotels, Charles North, author of What It Is Like and The Nearness of the Way You Look Tonight