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Big Other Contest #3

Win Robert Lopez’s Part of the World and Kamby Bolongo Mean River. All you have to do is write up to three sentences without any hyphens, apostrophes, quotation marks, or periods (the opposite of the “constraint” in Kamby Bolongo Mean River). The best entry will be picked by the Robert Lopez.

Deadline: February 12, 2010

Update: Robert Lopez has chosen Matty Byloos as the winner.

Here’s the winning entry:

And so he thinks; this is a very important distinction to be made, between the moment itself and the very nature of the person, between language and intention: perhaps an end…

But an end between what two points?

Between the what and the who of anything, of any situation, any decision: an otherwise empty space, or an excess of emotion!

John Madera's fiction may be found in Conjunctions, Opium Magazine, The &Now Awards 2: The Best Innovative Writing, and many other journals. His criticism may be found in American Book Review, Bookforum, The Review of Contemporary Fiction, Rain Taxi: Review of Books, The Believer, The Brooklyn Rail, and many other venues. Recipient of an M.F.A. in Literary Arts from Brown University, John Madera lives in New York City, where he runs Rhizomatic and manages and edits Big Other.

20 thoughts on “Big Other Contest #3

  1. I havent seen much but it was the best thing I ever saw and I think thats saying something although Im not sure what/It was an eye just one only one and it was bordered front and back by the world and above by dark hair and below by a brown fuzzy blanket/I was sitting on the couch and I looked down down at the eye looking straight ahead but not austerely but soft and sleepy and I remember thinking it was good that it was something the best thing that it was something to remember and so I did I remembered her eye/

    ….contests are fun. robert lopez is fun.

  2. red: colors / shapes / dripping faults (without ‘anywhere’ to find the man) building into objects (base-materialism divorced from the ‘perverse’ in a way that I cannot shake) // black: dark black / skies / eraser (found in the bottom of a school-boy’s desk) from the end of a pencil (gone) used to write a plea for help? (maybe)

    1. oops there’s an apostrophes and scare-quotes (which I guess are ostensibly quotation marks) and hyphen in there let’s try again:

      red: colors / shapes / dripping faults (with nowhere to find the man) building into objects (base materialism divorced from the ground in a way that I cannot shake) // black: dark black / skies / eraser (found in the bottom of a school desk) from the end of a pencil (gone) used to write a plea for help? (maybe)

  3. violence in crashing of (( )) roundness and // \\ ramp (the four parts over time slide right and right and unknown)

    until slow and beautiful (shhhhhhhh) noninjured and angelic

    conclusion: there is no violence no straight line

  4. And so he thinks; this is a very important distinction to be made, between the moment itself and the very nature of the person, between language and intention: perhaps an end…

    But an end between what two points?

    Between the what and the who of anything, of any situation, any decision: an otherwise empty space, or an excess of emotion!

  5. Insofar as each of us each day wakes up tired I have always wondered: Why does time compound so that our internal clock speeds up, and years can be measured by parking meters? How is it that we reconcile our desperate grasp on life with the numbing drudgery of subsistence and just smile?

  6. I stuttered and stumbled through most of my twenties, murmuring when I should have spoken forth some sort of straight answer, until I was stopped short — there, in the midst of me, why was it the emotions were somehow shoddy, second-rate, their resultant weight and working different than the standard?

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