Quintan Ana Wikswo‘s semi-autobiographical projects dwell within complex histories at the intersection of gender, disability, queerness, and race, with a special focus on human rights aftermath issues. Her artwork is deeply grounded in collaborative and coalition-based organizing principles, long-term project commitments, and intersectionality. Her books include The Hope of Floating Has Carried Us This Far and A Long Curving Scar Where the Heart Should Be. She lives in rural Northern New Mexico.
Among the things, topics, people, etc., mentioned and/or discussed are art, writing, poetry, prose, music, beauty, horror, race, sex, gender, books, The Hope of Floating Has Carried Us This Far, A Long Curving Scar Where the Heart Should Be, James Reich, small presses, Tobias Carroll, Vol. 1 Brooklyn, The Slaughter Parties (her forthcoming book), Coffee House Press, Stalking Horse Press, Monique Wittig, Cormac McCarthy’s Suttree, Leon Forrest’s There Is a Tree More Ancient Than Eden, Stanley Elkin, John Hawkes, Alejandra Pizarnik, Zora Neale Hurston, Paul Celan, Tacita Dean, Morgan Parker‘s There Are More Beautiful Things Than Beyonce, Jean Toomer’s Cane and Essentials: Definitions and Aphorisms, Hélène Cixous, Aimé Césaire’s Notebook of a Return to the Native Land, Clarice Lispector, Gabriel García Márquez’s Love in the Time of Cholera, Unnameable Books, William Faulkner, the Torah, the 1611 KJV, Gordon Lish, John McManus, Salman Rushdie, collaboration, and repetition. And colors. And dogs!
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.