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Showing posts with label experimental fiction. Show all posts
Showing posts with label experimental fiction. Show all posts

Friday, July 15, 2011

MadHat's July Newsletter

Dear Friends:

We’re going sawed off shotguns with our new Blog and getting  impressive submissions to the MadHat Press  poetry chapbook contest,  judged by  CA Conrad.  So please consider submitting to either or both and spreading the word.  And don’t forget to tell every poor cooped up urban dweller about MadHat’s Little Mountain Retreat (& B&B) in gorgeous Asheville, NC.

Former & Forthcoming Review & Blog Contributors & Book Reviewers:

We’re seeking book reviewers to write short reviews  Review and Blog contributors’ new books for our Blog, which means that both putative reviewers and contributors with new books are invited to send requests with details/links to mhrblog@madhatarts.com.  If you already have a reviewer searching for a venue, have her/him send the review to us, bearing in mind the guidelines listed on the blog.  We will also publish a few reviews in our Review issues.   We are not ruling out reviews of art, inventive electronic literature, et al.  Query and we’ll respond.
Contributors are also invited to submit news of book publications and readings/performances.  Please write “NEWS” in the subject line of your email to our blog staff and limit your descriptions to seven lines max.
And:  Contributors are invited to curate MadHat/Review readings/performances/multimedia spectacles/fundraisers in their home towns.  Email askalice@madhatarts.com if you want to host an event.
_______________________________________________________________________________________________

If you haven’t had a chance to peruse our new, inclusive organization’s website, please do.  We’re really excited about our new projects, which include the expansion of the reading series to Asheville, as well as maintaining a presence in NYC.  Our Mad Hatters’ Review Poetry, Prose, and Anything Goes Series will be represented in NYC at 4 pm on July 30th at The First Annual New York Poetry Festival on Governor’s Island.  Our next Asheville reading, once again at The Black Mountain College Museum & Arts Center, will take place on August 18th, and I’ll be flying up to NYC in October for a Mad Hatters’ Review Editors’ Reading at our old haunt, The KGB Bar (October 27th).  All readings and performances will be posted on the blog.

Contributors Jeff Davis (Issue 12) and Lori Horvitz (Issue 13) will join me in hosting a Mad Hatters’ Review radio show this Sunday on Jeff’s Word Play series.  Tune in to Asheville FM 5 – 6pm (EST USA) to hear recitations of works published in the Review.
MadHat Press is embarking on its first full-length publication, a book of poems by our wise and exceptionally prolific friend Hugh Fox.  We hope to have the book out by October.  It will be available for purchase via our Press page, as well as amazon.com, et al.  

The expenses of preparing to open a Retreat have been an enormous strain on the bank account of the Publisher.  There will also be expenses associated with the Press, the non-profit organization, and ongoing expenses to produce the Review.  So once again, I’m asking for contributions, fully deductible for US tax payers.  Your gift of any amount will no doubt yield beneficial Karmic consequences, as well as this Publisher’s heartfelt gratitude.  We need donations to survive!

Wishing you a wonderful, relaxing season without tornados, hurricanes, tsunamis, toxic spills, and nuclear fallout,

Carol Novack, Publisher
askalice madhatarts com

P.S.  If you’re on Facebook, please LIKE MAD ABOUT MADHAT ARTS.


Tuesday, February 08, 2011

ISSUE 12 OF MAD HATTERS' REVIEW IS OUT!

February 8, 2011

Dear Friends of Mad Hatters’ Review:

After a very long hiatus, during which The Mad Bunkers’ Mash Issue was emerging slowly, with birthing pains, we are back as an annual and in rarer form than ever with the largest issue since our first baby scream and gurgle in March, 2005. So now we are (nearly) six, way beyond the crawling and drooling stage and quite capable of distinguishing a raven from a writing desk. Well, on second thought . . . but I digress.

Our reading period for Issue 13 will be March 1 – 31. Please see our Submission Guidelines if you want to submit! Just bear in mind that the Hatters aren’t cliquish. If you’re a contributor in 12, you’ll have to wait till 14, et seq.

So on to address Issue 12, aside from the glorious fictions, poems, whatnots, wit & whimsies, non-fictions, the lone drama in homage to Beckett, the texts and vispo’s by our Knock Our Socks Off contest winners, and the mind-bending artworks and music accompanying contributors’ texts. On top of all that, we are thrilled to present two features: “Moving Words,” selected offerings of electronic literature co-edited by Camille Bacos and Jeremy Hight, who will stay on with us as “new media” editors; and “Back From the USSR,” an impressively comprehensive issue in itself, packed with fictions, poems, and artworks by a bevy of crème de la crème contemporary Russians and Ukrainians, mostly in translation. Thanks so! to guest editors Alexander Cigale and Mariya Gusev.

Thanks also to our former art director, Marty Duane Ison, and the poetry editor for this issue, the talented Jefferson Hansen. Welcome poet and visual artist art director Gene Tanta, and Ann Bogle, former contributor and our book review and “creative non-fiction” editor. Ann has a new fiction and non-fiction e-book out. Gene has a new non-virtual poetry book out. Read Gene’s fascinating interview of the eccentric New Zealand-born poet and visual artist Christina Conrad. Paul Gibbons, who created some fine music for this issue, will join Steve Kane, Don Meyer, Suchoon Mo, and Paul Toth in the music department.

We’re acquiring two brand new-to-us incoming editors. Marc Vincenz will join Ann Bogle on “creative non-fiction” and poetry. Born in Hong Kong of Swiss-British descent, Marc has spent much of his life on the road. He lived in Shanghai for 10 years before moving to Iceland where he now works as a freelance journalist and literary critic. His books include Benny & the Scottish Blues, Genetic Fires, and Upholding Half the Sky, which was released by MiPOesias in 2010. Susan Lewis, a contributor of whatnots in this issue, will join Marc Lowe (also the author of a recently published book, as well as a forthcoming one) and Matthew Maxwell as a fiction editor. Why a fiction editor when Susan writes so much poetry? Opines the publisher: that’s the best kind of fiction editor!

Our columnists for this issue include the infamous and insanely prolific Tom Bradley, who’s published far too many books, and Ann Bogle, who hasn’t published enough of them. We’re pleased to welcome back the former mayor of Ashfield, N.S.W., Australia, poet and gadfly activist Rae Desmond Jones, the astute political commentator, Fatima Shanaz, Professor of political science and President of the India Peace Organization, and the satirical Richard Haber, who stirs up trouble somewhere in the American desert. Poet Jeff Davis, of Asheville, NC, discusses the work of former Black Mountain College resident, poet Charles Olson. And I, Loopdeeloopy Lala, the author of Giraffes in Hiding: The Mythical Memoirs of Carol Novack (Spuyten Duyvil Press, 2010), present a bunch of unanswered love letters and a lawyer’s letter from my collection for (I hope) your amusement.

Expect news of MadHat Press’s first soft cover book: “Knock Our Socks Off: A Little Book of Curious Delights.” Marc Vincenz designed and laid out the collection of winning entries, and the book should be available soon. Also, expect news of our next contest.

Well, that’s the wrap, friends. We hope you enjoy our issue and please do let us know what you think! We’re open 24 hours 10 days a week at madhattersreview at gmail dot com, and we’re always happy to receive comments, suggestions, and donations that are tax-deductible for U.S. residents.


In dementia perpetua,


Carol Novack
Publisher/Editor-in-Chief

Friday, March 21, 2008

Oxford, Miss., here I come!

PRESS RELEASE

Oxford, MS

VOX PRESS announces an avant-garde literary event on March 28th 2008 to be held at the Power House in Oxford, Mississippi beginning at 5:00 in the evening. The event is part of a documentary project and will be filmed and recorded live on the night of the event featuring some of the nations most experimental literary artists: including Mark Sonnenfeld of East Windsor, New Jersey, Carol Novack of New York City, NY, Joshua Kornreich of New York City, NY, the jazz poet Normal of Saugerties, NY and others. The event/film was also feature local artists as well including Louis E. Bourgeois, Betsy Chapman, Mary Riggs, Clarissa Romano, Zane Gillespie, among others.

The event is open to the public free of charge: donations will be accepted. The audience will play a key role in the documentary itself and audience members are encourage to dress as formally or as outlandishly as they would like: ideally, the audience will appear as interesting as the members of the stage.

The impetus of the event, a part from supporting the contemporary avant-garde literary arts scene, is to call attention and to bring support of VOX Press’s first book publication, Complete With Missing Parts, a collection of interviews with the literary avant-garde of the 21st century which includes literary artists and scholars from around the world and locally as well. The book includes interviews with such scholars and literary artists as Barry Hannah, Charles Wright, Celia Rabinovitch, Ruth Brandon, Russell Edson, Joseph Kronick, Stephen Barber, and many others. The first press run of the book is due out by the early summer of this year.

VOX PRESS is operated by Oxford writer and editor Louis E. Bourgeois and artist J.E. Pitts of the Oxford American. VOX is a pending 501(c)(3) nonprofit organization and is supported in part by the Yoknapatawpha Arts Council as well as the Mississippi Arts Commission.

Monday, January 14, 2008

Gated Communities: the saga continues

Poem

I sat at the end of the road -- not my road, just one I had taken because it was the first that I found. There were no other roads in sight, only a rectangular piece of yellow paper pinned to a tree whose name I did not know. The piece of paper stated:

This is a poem:
neither the end of the road nor the beginning of all roads.

Curb your expectations!
This is only a piece of yellow paper
on which sits a poem about roads
of no consequence.

Ho hum, another poem about a road,
you think: tired poem, exhausted road,
eroded metaphor of stones
on which I bruise my feet.

Ho hum, the poem thinks:
Worn feet, stanzas on which I stumble. No rhyme. No reason.

Some insist
there is a sequence
to roads
if you can see it.

Others insist
there is a score,
but say you must be a scholar
of harmony, theory, and history
to understand
the movements
of notes.

Remember:
what you observe (is ripped
what you hear (is burned.

Find the player
to find the player.

The piece of paper was crisp and clean, as though it had been recently pinned to the tree. The letters were formed erotically with flourishes and curves. Was the poetic calligraphist saying that the poem was of no consequence or the road? If indeed this road was inconsequential, I simply had to imagine another and press on. And so I did. I turned left and saw the man in white nearing the top of a hill. He beckoned to me as he disappeared to distances beyond my sight.

Friday, January 11, 2008

Latest 2 segments from my tale in progress, "Gated Communities"

(From Part II, in which the protagonist and reader assume that she's entered the gated community. In Part I, a series of prose poems, she was seemingly on the outside, wishing to be inside.) This portion may well be revised down the road, but I think it's entertaining enough to post. Hope you enjoy!
___________________________

A Tourist Attraction

I left the hut with monkey and meandered without map or clue. Another monkey on the top branch of a ginglo tree whistled and sang a bawdy song to my comrade monkey --- a she simian with pendulous, shallow mammary glands. She displayed her sex, comrade monkey climbed the tree, and I continued alone. Family values are of prime importance among primates. As they say, “blood is thicker than water.” I recalled that canon and detached myself from monkey, acknowledging that salvation is not ownership.

I soon arrived at a massive, glowing red stone or rock, surrounded by an alarmingly high barbed wire fence. I walked around the object and surmised that it could be a planetary remnant, a mite of a meteor, no doubt with a flame in its core. I needed to feel it with my body and listen close to discover its story, but the barbs were menacing and loud and I had neither ladder nor nearby tree.

I sat down on the long grasses surrounding the object, hoping that it would speak to me, beyond the enclosure. Instead, a quizzical old woman arrived, wagging a pitchfork.

“What are you doing sitting there, child?” she inquired, pointing the pitchfork at me. “There are biting mouths in the grasses and the moon is avaricious in these parts,” she added.

“What are you doing out here so late, Grandma?” I asked.

“I am guarding, of course” she responded. “But that is not the point at all. What are you doing here?”

“I am a tourist, fancying what I find and looking for a room and ball. I will also need a fancy dress shop.”

“Nonsense,” the woman replied. “There are no tourists. There is nowhere to come from; accordingly, there are no strangers. You are confused and must leave towards whence you came . . . now. Before something happens.”

“But if there is no other place, how can I leave towards whence I came, and isn’t it true that something is always happening? As well as the reverse. And … and … there is always danger when there is happening and not happening? And wouldn’t I be proceeding backwards?”

“I have no time for theories. I am busy guarding. Currently, you are neither towards nor backwards. You are merely a forward, untoward nuisance.”

I skirted her insults and asked: “What are you guarding?”

“It’s perfectly obvious, young lady,” the woman answered, peevishly.

“Yes well, I agree, at this moment you appear to be guarding this monolith, but what is it? What is its meaning?”

“You ask too many questions. That is unwise and unruly.”

“Who says so?” I inquired.

“They say so.”

“Who is they?”

“All of them. Obviously.”

Abruptly, she smelled like noxious air and I was frightened “They” had always alarmed me. References to “they” made me sneeze violently, and so I did.

This woman would never listen to me. I kept talking to keep my self company, talked about my dead parents, my sequoia; spoke wistfully of the man in white and a friend who’d betrayed me. I just kept on, as she guarded the stone. Three times, she encircled it, looking anxiously about. Perhaps decades past, when she was a child, the woman had listened to her self. It was obvious that everything was obvious to her. Accordingly, she had no need to speak.

Some people frequently say: “You cannot listen to others unless you’ve learned how to listen to yourself.” When I first heard the adage, I considered it a profound revelation. I never quite grasped it, but thought I should. I didn’t doubt it, though I didn’t believe it absolutely either; cited it many times on public restroom walls, considering it my mission, the way Mother Teresa spread the word of the god in which she wanted to believe, but ultimately did not. I even tried to effect listening to my self during sleep, which disturbed my bio-rhythms. When friends were sad, I’d tell them they weren’t listening to themselves. Self-listening seemed a logical, reasonable, and attractive goal. People told me to record the mission in my own unique way and sell it. At one point, I thought of changing my name to Mataharia Mumja.

So here I was on the other side and at this time all I wanted fervently was the attention of this old woman, whose name I did not know. If she (let’s say Greta) listened to me, she’d cut the barbed wire fence around the object I saw as a stone. If she listened to me, perhaps she’d know how to listen to herself and realize that the stone wanted freedom --- I could tell it was throbbing. Well, perhaps I was projecting. I realized why I was trapped in this momentary, desperate obsession: she reminded me of my mother.

I wrapped myself around the old woman’s veined legs gently, yet with urgency, and called her “Grandmamma, dear.” She smelled like a lavender sachet, so I told her I’d been missing her since I was four. That was true. I convinced my self. She looked puzzled, scratched her head. I was afraid she’d turn into a crow. Instead, she sat down on the grass beside me and started to weep.

“It is good to weep,” I said, holding her. “Weeping is a form of vigilance. It means that you can listen to your self when necessary. Now all you have to do is cut the fence. You will feel so relieved, I promise.”

“I have severe sciatica and I can’t cut the fence when they’ve given me no tools. I feel pathetically limited, but realizing one’s limitations does not of itself set oneself free, as some would have us believe.”

At that point, the man in white appeared from the black and blue of nigh of night and from a whence with which I was no doubt unacquainted. “You are a troublemaker,” he said to me, shaking a white gloved index finger. “Be on your way and let things be as they be or not. You are disturbing the natural disorder. You lack respect for the sanctity of art.”

He then addressed the old woman: “I know you are tired, Mother Magda. Relief is imminent.”

Indeed, it was. A stretch limousine arrived to deposit another old woman and remove the one to whom I’d become attached. The man had disappeared and I had difficulty finding a road. But I took comfort in romantic reveries. The man was not a god yet he was watching me. Attention is the first step on the winding stairway of love. Oh dear. What dreadful poet wrote that? I did!


Mapquest (nb -- inspired by the primaries)

When you have no idea where and why you are going, fake it.

If people believe you are set on a way you call your way and you stick to it, you will gather a fan club.

If you invite them along, they will follow and pay your way.

Act passionately about nothing definite.

Wear moisturizing cream, drink 12 pints of water per day, and jog five miles.

This is the tao of the politician.

Never describe it as other than tao.

Never elaborate.

Smile, even if you’re about to fall off the edges.

Friday, December 14, 2007

Susurrus: The Literature of Editors Issue!

http://susurrusmagazine.com

read my piece: "I Am Not Who I Think I Am Or Is It Whom?"



Yay, Rabbi Brian Worley!