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Showing posts from April, 2012

Susan Steinberg's stories evoke the schizophrenia of our times, a community of voices at the zero point:just me and him driving, just the road and road signs, just broken white lines on the road, just the headlights nearing, then past, then dark, just the radio hum, a song, what was it, just a song from before

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Susan Steinberg, The End of Free Love, Fiction Collective 2, 2003.

"Susan Steinberg's first collection of stories, The End of Free Love, evokes the schizophrenia of our times, a community of voices at the zero point. Like the voices that splinter from Marguerite Dura's work, these characters, too, are neurotic, taking refuge in comic books, food, music, sex, and lies. Violence is everywhere: in every emotion, in every words. Throughout The End of Free Love Steinberg creates a hybrid text, blending poetry and fiction in writing that is as much about its form as it is content. This is fiction that offers itself up for our delight, while remaining as elusive and unpredictable as language itself."

"The stories of The End of Free Love mark a great beginning. They are seductive and migratory, tapped into our earliest sense of the world. Steinberg inhabits our first bewilderments, the terrors and the tenderness that shape our lives. To read her is to fall out of the da…

Christopher Nosnibor – We swim in a sea of facts, data which will intensify and mutate our experience of the real. Facts used like poison gas. Envy is universal, many-to-many. Its refusal to go away is that of an enemy, or a ghost

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Christopher Nosnibor, This Book is Fucking Stupid, Clinicality Press, 2012.


"Christopher Nosnibor’s latest literary assault takes his quest for literary self-annihilation to a new level and poses the question: is this the end of the novel?
Ben and Stuart are old friends. Having known one another since school, they’ve grown up together and remained friends into adulthood. But now into their thirties, their lives have taken very different paths, and they’re now very different people, leading very different lives, following different careers. Ben is a conformist: office job, moderately successful, and teetering on the brink of a premature midlife crisis. Stuart is a rebellious non-conformist, a lifelong student and a writer who sneers at the humdrum and derides ‘corporate sell-outs.’
Ben is tortured by the tedium of his job and struggling with his work / life balance and worries about money and living a life unfulfilled, while Stuart worries about his thesis and living a life unf…

Charles Avery - Texts, drawings, installations and sculptures which describe the topology and cosmology of an imaginary island, whose every feature embodies a philosophical proposition, problem or solution: people hooked on gin-pickled eggs, hybrid beasts, God-S-Hites, and Gods that include Mr Impossible, a 33-year-old man elevated to his new title mistakenly by three drunken philosophers. Characters hemmed in by ‘The Sea of Clarity’, ‘Cape Conchious-ness’ and the ‘Analitic Ocean’, and immortalised in consummate drawings, uncanny acts of taxidermy and iconic sculptures

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Charles Avery, The Islanders: An Introduction, Buchhandlung Walther Konig GmbH & Co. KG. Abt. Verlag,  2009. "I first came to the Island at the end of the great kelp rush, although I was not aware of that at the time. On the contrary, I had sought out this strange land with a view to being its discoverer."
So begins Charles Avery's The Islanders: An Introduction. The Islanders is, on one hand, a book, a fictional travelogue which catalogues a place called 'The Island' as encountered by the book's narrator. On the other, it is the first part of Avery's lifetime project, documenting the first four years of the Scottish artist's magnum opus.
The project itself is composed of large scale drawings, maps, sculpture, taxidermic specimens, and even a 3-D computer generated model of the Island (though Avery sees the latter "as a tool for me to use", rather than an artwork in itself). The objects and artifacts of The Islanders can be seen in…