The Summer 2011 issue of Requited is now online. It features:

• fiction by Josh Collins, Jess Upshaw Glass, Suzanne Scanlon, Ben Slotzky, and Simon A. Smith;
• poetry by Kristy Bowen, Nicelle Davis, Eric Ellingson, Molly Gaudry, Monica Gomery, Rich Ives, Alyse Knorr, Kate Martin Rowe, and J. A. Tyler;
• essays by Steve Katz, Mark Rappaport, and Viktor Shklovsky;
• visual art by Carl Baratta and Alexis MacKenzie;
• and videos by Anne Elizabeth Moore and Hyon Jung Kim.

Please check it out! And since the nonfiction section is my domain, allow me to say a few words about the pieces there.

Viktor Shklovsky is, I have repeatedly argued, the most important literary critic of the 20th Century; translations of several of his books have been published by Dalkey Archive Press, including the all-important Theory of Prose (1925/1990). Others include Zoo, or Letters Not about Love (1923/2001), A Sentimental Journey (1923/2004), Knight’s Move (1993/2005), Third Factory (1977/2002), Energy of Delusion (1981/2007), and Literature and Cinematography (1923/2009). Bowstring was originally published in Moscow in 1970, and is now making its first appearance in English thanks to the efforts of translator Shushan Avagyan (who also translated Energy of Delusion). In this issue of Requited you’ll find

• that book’s foreword;
• an excerpt concerning repetition the Epic of Gilgamesh;
• and “Briefly About the Antinovel,” which discusses films by Fellini and Antonioni, among other things (all rendered in Shklovsky’s well-known poetic style).

Mark Rappaport is a filmmaker, writer, and visual artist. His films include The Scenic Route (1978), Impostors (1979), and the widely-acclaimed Rock Hudson’s Home Movies (1992) and From the Journals of Jean Seberg (1995). A collection of some of his film writings was published in 2008 in French as Le Spectateur qui en savait trop (The Moviegoer Who Knew Too Much). Several of his pieces have appeared in the online film journal Rouge. (I can’t recommend his essay “The Secret Life of Objects” highly enough.) He’s graciously contributed two essays to Requited:

• “The Gong Show,” a meditation on Arthur the different men who rang the gong for J. Arthur Rank’s production company’s logo (as well as eyebrows and navels in cinema);

• and “Black Bra, White Bra,” an analysis of the two different bras Janet Leigh wears in Hitchcock’s Psycho.

Steve Katz is the author of many, many books, including The Exagggerations of Peter Prince (1968), Creamy & Delicious (1970), Saw (1972—and one of my all-time favorite novels), Moving Parts (1977), Stolen Stories (1984), Wier & Pouce (1984), Florry of Washington Heights (1987), Swanny’s Ways (1995), Antonello’s Lion (2005), and Kissssssssssss: A Miscellany (2007), as well as a screenplay and a few books of poetry. His most recent project is a three-volume memoir consisting of 137 “memoirrhoids,” or episodes he’s selected from his life. The first volume, Time’s Wallet, was published earlier this year by Counterpath Press; Requited is pleased to be able to publish five memoirrhoids from the forthcoming volumes:

• “How Bilbao,” concerning an attempt to see every artwork by Antonello da Messina;
• “Martha and Megaliths,” a memory of traveling and eating with Martha Rose Shulman;
• “Rabbit Wind,” a bit about reading his work aloud with Philip Glass, and at other times;
• “Clarence Schmidt,” a remembrance of the outsider artist;
• and “Eating Dog / Talking Turkey,” which describes, yes, eating dog, as well as celebrating New Year’s in China.

Thanks to all of the contributors, and thanks to you for reading. I hope you enjoy the issue!