Ryan W. Bradley‘s story, “The Pit Bull’s Tooth,” is up at Wigleaf, and his chapbook, MILE ZERO will be out in September from Maverick Duck Press.
Elaine Castillo had poems published in Issue 12 of > kill author, and a piece forthcoming from Used Furniture Review, both from her poetry manuscript CANDIDA: A TRANSLATION. Several of her short films will be screened in Glasgow on April 9, for the Digital Desperados premiere night at the Center for Contemporary Arts.
Greg Gerke wrote about William H. Gass at The Nervous Breakdown–touching on his essay “The Soul Inside the Sentence,” his story “Mrs. Mean,” and meeting the man himself at the Strand Bookstore.
Paul Kincaid has had reviews of The Anatomy of Utopia, by Karoly Pinter, at SF Site; Nexus: Ascension, by Robert Boyczuk, in New York Review of Science Fiction 270, February 2011; and The Quantum Thief, by Hannu Rajaniemi, in Vector 265, Winter 2011. The BSFA also published a chapbook, Into the Woods: Robert Holdstock Remembered, which included “An Answer” as its introduction; “The Memory of Stories,” an interview Kincaid conducted with Holdstock; and “Robert Holdstock: A Roundtable Discussion,” in which Kincaid took part. Finally, Palgrave Macmillan have apparently published Teaching Science Fiction, edited by Andy Sawyer & Peter Wright, which contains Kincaid’s essay “Through Time and Space: A Brief History of Science Fiction,” in which he attempts to compress 500 years and the entire global endeavour of science fiction into just 6,000 words (don’t try this at home, kids).
Michael Leong‘s writing has recently appeared online at So and So Magazine; Action, Yes; Marsh Hawk Review; and Blackbox Manifold and in print in Hotel Amerika. His manuscript The Philosophy of Decomposition / Re-composition as Explanation: A Poe and Stein Mash-up was a semi-finalist for the 2011 Sentence Book Award and will be published in the near future as a chapbook by Delete Press. He will be reading from that work at the Northeast Modern Language Association (NeMLA) as well as giving a paper on generic hybridity in C.D. Wright’s long poem One Big Self.
John Madera was accepted to attend Brown University’s MFA in Literary Arts program, Fall 2011. “The Museum of Oddities & Eccentricities,” a collaboration with Lily Hoang, appears in Unfinished, Stories Finished by Lily Hoang (Jaded Ibis Press). He also reviewed Ted Pelton’s Bartleby, the Sportscaster (Rain Taxi: Review of Books, Spring 2011 Print Edition) and Renee Gladman’s Event Factory (The Review of Contemporary Fiction, 2011). Madera, along with John Reed, John Deming, and Tim Brown, took part in the National Book Critics Circle’s Celebrates Small Press Month panel, with Barbara Hoffert
Amber Sparks‘s story, “A Brief, Bright Fire to Sweep the World Clean,” appeared in the March issue of PANK. The story was shortlisted for PANK’s 1001 Awesome Words Contest. Two of her previously published stories (“Tours of the Cities We Have Lost” from Unsaid 5, and “You Will Be the Living Equation” from Annalemma 7) were published in the latest issue of Zine Scene’s Reprint.
J. A. Tyler‘s second book, A Man of Glass & All the Ways We Have Failed, is now available from Fugue State Press. Please eat this book up.
It’s been a while since I’ve posted news of all our various goings on and whatnot. But everyone at Big Other has been up to all kinds of great things.
Hi, I’m Elaine Castillo. Usually I write over at the PANK blog and my personal one; now it seems I’ll be writing for Big Other, too. Exciting! Many thanks to John Madera for the invitation and to Tim Jones-Yelvington for the recommendation. And a shy hello to the wonderful current contributors, whose posts I have eagerly read, and shyly appreciated—shy and shyly because I was never able to bring myself to comment on any of the (many) remarkable posts and comments I read here. I’m sorry.
Some of the things I’ll probably be writing about here: thoughts on or quotes from various books or writers in translation (both contemporary, and less-so), since that has been the lifeblood of my reading for most of my life, producing therefore massive and probably unconscionable gaps in what I know of English and American literature; Japanese manga and anime (maybe some Korean manhwa?), primarily in the yaoi (homoerotic/sexual, targeted to female readers) genre, but also possibly some discussion of mainstream manga, like Naruto or BLEACH—or even more mainstream romance manga, if I ever find one I like enough; film, perhaps with a slight focus on Southeast Asian and East Asian cinema; responses to philosophy or critical theory.
All of this in a hyper-digressive, associative, ficto-biographical-hybrid fashion, which seems to be the only way I find myself able to write or even think critically at present. That may change, if I ever become a more reasonable person. But I won’t.
Recently I was kicking around the idea for an essay (or series of essays) about gurlesque-related trends in recent hip-hop and R&B, thinking primarily about Nicki Minaj, Rihanna, Janelle Monáe, Willow Smith + others, but that feels like it needs much more incubating time, devotion; if it ever materializes at all.
Guest edited by our very own Tim Jones-Yelvington, PANK has a spanky new online issue out featuring all-queer writing. Wait, what’s “queer”? According to the editor’s note: “Queer picks at ‘normal’ like a scab, then eats it. Queer negates labels or else queer embraces many labels. Queer asks what the fuck is a label anyway.”
READ THE ISSUE, IT IS GUARANTEED TO BE
Doug Paul Case
Sofia Rhei transl. by Lawrence Schimel
Julie Marie Wade
Robert Alan Wendeborn