Two Debuts This Week by Authors We Like, from Venerable Indie Presses We Also Like

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Sucks to be me this week, sort of. Now, granted, I was just paid to spend a long weekend in Colorado talking literature, eating great food, and cheerfully screwing around. But the resulting logjam of review-work and teaching-work (plus the upcoming Doomsday Film Festival & Symposium this weekend, about which, more later) caused me to miss not one, but two awesome parties this week. This first, on Tuesday, celebrated the release of Rachel Sherman’s debut novel, Living Room, now available from Open City. The second, last night, was for Daniel Nester’s prose debut, a self-help guide from Soft Skull entitled How to be Inappropriate.

Luckily, even though I missed the parties, I’ve got the books sitting here in front of me. And I swear to Christ, as soon as this death’s head of a month has passed me over, I’m going to read the hell out of ’em. But no need for you to wait for me on this one. Ya’ll should get to it right now. Also, be sure to check both authors’ tour schedules (respective clicking above will take you there). Rachel is reading all over NYC throughout this month and next, at Cakeshop, KGB, and elsewhere. Nester doesn’t seem to have as many dates on his docket, so maybe you should invite him to come read for you. Here’s a taste of his book from McSweeeney’s.

Author News & Presses / 2 Comments
October 22nd, 2009 / 11:31 am

I want to read or write something that feels and operates like this: “…they have systematically documented numerous identities over the last 14 years.”

Lots of great in the Rumpus’s Last Book I Loved column. What’s the last book you loved?

Charles Bernstein: Futurist Manifestos at MOMA

Futurism and the New Manifesto program
Museum of Modern Art / New York
February 20, 2009.
(on the 100th anniversary of the publication of the Founding and Manifesto of Futurism)

Web Hype / 2 Comments
October 21st, 2009 / 10:04 pm

Craft Notes & Reviews

A fine piece of misdirection

httpv://www.youtube.com/watch?v=GZy277zUECk

I’m only passingly familiar with the work of Steven Jesse Bernstein. I heard “The Man Upstairs” on this week’s (October 16) episode of Over the Edge from Don Joyce of the band Negativland, and searched to find the piece isolated from the bed of ambient noise and audio collage—the stop, start, rewind, replay nature of Over the Edge.

Here’s a transcription of the piece. It was found on this website: READ MORE >

18 Comments
October 21st, 2009 / 6:53 pm

GPS Flash Fiction?

gpshill04In January of 2009, this marathoner wrote a message on a map with GPS tracking software to raise funds for a small village in Uganda and posted the video on YouTube. If you can’t read it, it says “Hello I am running in the 2009 Flora London Marathon for ICYE UK; please sponsor me at justgiving.com/jennys_run.”

This website “investigates principles and techniques of drawing and sculpting with satellite navigation technology.”

Question: when will Sean Lovelace write a flash fiction with a GPS tracking device?

(via old NYTimes story)

Random / 4 Comments
October 21st, 2009 / 4:08 pm

1,000 Hours of Staring

Tom Friedman, "1,000 Hours of Staring," Stare on paper (1992-97)

Tom Friedman, "1,000 Hours of Staring," Stare on paper (1992-97)

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Craft Notes / 88 Comments
October 21st, 2009 / 2:25 pm

The Ipod as Writing Tool (Don’t Worry This is a “Clean” Post)

My Ipod’s become an instrumental (ha ha) part of my writing.

Charles Simic said something like “Chance is the key that gets me out of the prison of myself. Well, then in this way and in others also, my Ipod’s a key.

First, I use it to generate poems. I record bits and pieces and save the files on to my Ipod, organizing them into appropriate playlist. Bits of the news, pieces from magazines. Bits of fiction and pieces of poetry. Things I’ve heard people say. Descriptions of landscape. Whatever. Etc. Then using the Ipod’s shuffle feature I generate 10-12 piece units (the number can and does of course vary). This is a starting point block of text that I then manually edit on the page.

I also use my Ipod for editing pieces that I think are done or close to. I record these pieces and put them on a playlist. Then (in bed or walking around or using the bathroom–damn, this was supposed to be “clean”–etc etc) I listen to them and make the edits in my head.

When I’m stuck manually revising and need a bit of color for example (like Jean Follain said) I’ll use the Ipod’s shuffle to generate me plenty of word/phrase/image options from which to choose. And then I’ll play around with those “colors” and see if I can make something work.

Of course I also use the Ipod to listen to music while writing or revising.

And the Ipod’s also useful when I’m organizing a book or chapbook. I put the poems (pieces) in a playlist and then using the Shuffle I get these strange and sometimes useful sequences that I would have trouble coming up with on my own. And, in the end, I sometimes use some of these orderings the machine creates. At the very least it’s amusing.

I’m wondering who else may be using the Ipod in similar ways. Or differently?

And I’m also interested in knowing what other methods of chance composition you guys (and gals) may be using to lead you out of the prison (or into the labyrinth) of the self.

(Simic I think just used to randomly take books off the shelf and open them to random pages. And sometimes did this with James Tate. Perhaps in the nude, with pastries. Perhaps.

Damn, this was going to be “clean”!!!)

Craft Notes & Technology / 28 Comments
October 21st, 2009 / 12:00 pm

Story by Story: Brian Evenson’s Fugue State (17) ‘Fugue State’

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The 17th and titular story of Fugue State is also its lengthiest, and of all those before it, perhaps the tract with the widest aim. Whereas up until now the majority of the texts herein have reckoned with themselves via a manner of constant recursion, spiraling into their own centers, ‘Fugue State’ the story is bookended by situations that find the ever-disassociative protagonist at the cusp of exiting his interior–and yet, in each instance, the bookends ultimately also end up serving as mirrors, reflecting, again, the lack of light onto itself.

As the title suggests, and again as has been the primary defining factors of all of the voices herein, our protagonist suffers from the inability to keep his reality in crystal grips. Any time the sentences find him beginning to ascertain something about himself to be true, or presented as true to the reader, further sentences serve to skew that understanding via small strokes, often questions the protagonist asks himself–”Had he done anything wrong?” “But couldn’t he explain that away?” “’Is anybody there?’” “’Do you remember your name?’” The deeper on we tread into the story, also, the quicker the questions begin to come, as further skewing, and skewing of the skewing, leaves even the questions to be questioned. What is being asked?

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Uncategorized / 4 Comments
October 21st, 2009 / 11:09 am

Drugs (a guest post from the Tyrant, Giancarlo DiTrapano)

drugs-gun-knife

The Tyrant‘s got some questions:

You write, man?  You do drugs, man?  You do drugs and write, man?  I don’t want to count drinking as drugs but I guess I will if you’re going to fucking make me.  Man, those drinkers sure knew how to write, didn’t they?  You know who they are. What happened to that? Did anything happen to that? I’ve tried to drink and write but I always want to talk once I’ve had a drink so I end up at my computer facing a blank word doc, but then I’m fast on the phone with a childhood friend or someone else I usually wouldn’t want to talk to.  But (some) drugs are different.  They make you think faster or slower or better. Maybe they allow you to think of things from your past that you can’t bear to think of sober.  Some say they give you “Ass Power” and now I bet you want to know what that is. I heard an interview with Tony Robbins (that giant-mouthed guy) talking with Quincy Jones about Michael Jackson recording Thriller and all the “Ass Power” Michael Jackson had. “Ass Power” is the power to keep your ass seated and get some fucking work done.  Do drugs give you “Ass Power” or “Word Power” or “Story Power” or whatever the fuck you think you have or had when you wrote that story that you think is so good but no one will publish?  Let’s hear it.  You get high and write?  Snap tubes, brah?  Pop Xannies? Bumpsters? What do you drink, smoke, snort, run when you write? Or maybe you do nothing at all. Let’s hear it, cokeheads.

P.S   a) The Tony Robbins story is true.

b) What’s your guy’s number?

Random / 92 Comments
October 20th, 2009 / 10:18 pm