I got my issue of DINER JOURNAL in the mail a few days ago — it looks amazing. Here are some pictures, and if you happen to in NY stop off at Achilles Heel for the release. They make great drinks and my long (recently un-lost) friend/editor Ana works there.
Years ago when I worked there, I’d sworn to write a musical about The Cowgirl Creamery. Pt. Reyes seemed like the stuff of musicals — as near to Brigadoon as anything I’d ever seen. In the end I think I did everyone a favor by sparing the world of any musical composition attempts by my part. Instead I made good on that old promise by way of this comic.
Download a Green Lantern classic — recently transformed from print to audio by way of Palaver Press:
FASCIA: A Collection Of Short Stories
By Ashley Donielle Murray
Music by Bird Radio // Audiobook. Pa001, 2013 //ISBN: 978-0-9885491-1-1 // Length: 4 hours, 9 minutes (Unabridged)
A UNIQUE LITERARY EXPERIENCE FOR A UNIQUE GENERATION OF LISTENERS
This new forthcoming series pairs the ground-breaking work of young, contemporary fiction authors with original music by emerging, independent composers. We are passionate about audio and literature and see the potential to disrupt the industry standards of the audiobook medium in order to engage a larger community and make something truly beautiful while doing it! We don’t fall for celebrity narrations, or unabridged Dan Brown carbon copies, and we know most people really don’t want to spend $42 on them either. Palaver Press uses the platform of interdisciplinary collaboration to deliver independent works of literary fiction to a wider market.
We are delighted to help authors exchange networks across artistic boundaries and provide them a high-quality media production crafted with love, for which their fiction is ultimately worthy.
Our works are shorter in length and retail below the standard average for audiobooks in order to make them more readily accessible for on-the-fence consumers. Palaver strives to present unique writing in unique ways by creating a literary experience that both expands the book beyond the written word, while also attempting to expand its readership. We are committed to learning more about what stops culturally-curious consumers from engaging with this medium, the results of which will help us drastically elevate the voices of contemporary independent writers.
ABOUT FASCIA: A Collection Of Short Stories
Fascia: n. pl. fas·ci·ae 1. Anatomy A sheet or band of fibrous connective tissue enveloping,
separating, or binding together muscles, organs, and other soft structures of the body. 2. The debut collection of short fiction by Ashley Donielle Murray. Like the tissues binding the heart to its arteries, the Southern vignettes in Murray’s collection describe the threads, sometimes thin, sometimes strong, that connect daughter to father, husband to wife, and ourselves to our own histories. This collection explores the interconnection of individual lives to the world around them. From a girl’s quest for fame in the silent film era to a daughter’s conflicted feelings about her father to the interaction between a nurse and an old man with dementia, the characters in these stories try to distinguish themselves by the very things that bind them together.
This work is presented in audio format for the first time, alongside original flute music composed by Bird Radio. Murray’s short interludes, appearing in between each story to serve as emotive thematic connectors, are kept intact with ambient, breathy flute sounds and concise narrations by Jeremy Young.
First published in print by Green Lantern Press in 2009.
Suzanne Scanlon was recently interviewed by a class from Naropa. I love the interview for many reasons; for one it’s always a relief to hear writers admit to (and even encourage) messiness in drafts, for another the idea of a single class taking adopting one voice appeals to me as well. And then of course, all the things between Butler, Bardo, Myles, Prozac and the Indigo Girls:
Toward the end of the Spring 2013 semester, Introduction to Critical Theory undergraduate students at Naropa’s Jack Kerouac School read Suzanne Scanlon’s Promising Young Women (Dorothy, 2012) through the lens of feminist and gender theories from Susan Bordo and Judith Butler. Over the summer months, Scanlon engaged with our questions about gender and mental illness, as well as questions about her practice as a writer.
Interviewed by Alexandria Bull, David Chrem, Jacob Cohen, Lauren DeGaine, Charlie Epstein, David Hall, Elizabeth Kichorowsky, Anna Meiners, Jade Quinn, Georgia Van Gunten, Chey Watson and Indigo Weller.
The Class: We are curious about research that may have gone intoPromising Young Women. The experiences of Lizzie and her fellow patients are specific and realistic—did you conduct interviews or observations of women in mental health facilities?
Suzanne Scanlon: On the one hand, I didn’t do much direct research for this book. On the other, the book is concerned with my ongoing obsessions, among them: so-called mental illness, the pathologization of emotion, female experience and spiritual/artistic seeking. I’m often reading and teaching books related to (female) experiences of institutionalization, as fiction or nonfiction, and I know many people, myself included, who have suffered severe bouts of depression and other debilitating conditions. But also, I suppose I wanted to bring in something true and culturally specific about mental health facilities, here related to 1990s New York City, and to remove the barriers we normally place between the healthy and unhealthy. I’ve long felt the dominant medical-model framework for emotional experience to be lacking—and yet, necessary. I’ve also long been interested in literature that deals with madness, from fictional unreliable narrators (“The Yellow Wallpaper,” Turn of the Screw) to straightforward memoir about madness (Styron’s Darkness Visible or Kaysen’s Girl, Interrupted).
TC: On the other hand, is there a personal basis for any part ofPromising Young Women?
SS: There are feelings and experiences in the book that came out of my own experiences, or the memory of certain feelings, yet though it contains elements of my story, it’s not exactly my story—or any one person’s. I wanted it to be that and something else; I wanted to take some of what I went through as a young woman and push it—to contain the experience of many women, or human beings, so that I might speak to larger ideas.
Still, I think the more specific art is, the more powerful it can be. At least that is what I’ve experienced as a reader. This may seem evasive, but the truth is that it is hard for me to separate what’s true and what’s fiction. For me, fiction is truth! Maybe for a writer this line is blurred so early on, and so regularly, that it’s always both—it’s always personal and it’s always fiction, a construction. It all gets so mixed up in the writing process that those sorts of “truth” questions don’t matter.
I guess if I published this as a memoir, I’d have different expectations, which is perhaps why I prefer fiction. Still, I know it does matter to certain readers, the question of where I’ve been or what actually happened, and I guess this is the best (and most unsatisfactory) way I can answer that.
I remember this great interview with Eileen Myles where she spoke of the way she sees women as insiders. She reads her life as always from within some sort of institution—and that writing, for her, became about revealing the experience of being held, in that way. Whether it was a mental hospital or a camp, it was some kind of institution. That’s sort of what I was thinking about, too—that as a “promising young woman,” there were many spaces which claimed me, held me (a Catholic school, a hospital, a church, a stage) and yet the specific hollow pain (as Myles called it) of being inside those spaces weren’t represented anywhere. Myles said that at some point she decided to “camp out” in being female, to try and say what it was like in there. That’s really inspiring to me, and, I suppose at some point, I had to finally get real with myself as a writer, to reveal my own insider perspective.
thanks to James Pepper Kelly and Philip Von Zweck!
“…Picard’s work blurs lines, formal, aesthetic, and psychological. Geometric forms merge into unconstrained fields of color, while a detached animal nose is promoted as an object “for all ages.” One collage suggests both a pinball machine and a topographical map of a garden, both highly orchestrated but sliding into chaos. Another, jagged, with cones, blocks, and a mushroom cloud reaching off the plane of the work itself, points to the unconstrained cycle of nuclear fission.
Installation view of a collage from Caroline Picard, Divining Transhuman Space, 2013, at D Gallery.
“Picard’s work is fantastic in the old sense of the word, with hints of the bizarre and uncontrollable and implicit threats abounding. It’s dark in the way of old fairy tales and, often, equal parts winsome, ordered, and disturbing. In some cases Picard draws on expected tropes, as in an illustration of a human seemingly crossed with a horse (according to von Zweck, a YouTube reference). In more dynamic pieces, such as the nuclear collage, she takes a marker of scientific modernity and uses it to undermine the idea of stability at its foundation.”
There is more to the article — Kelly goes on to write about two other off-the-beaten path spaces and the exciting shows they afford, contextualizing them as a counter example to the Big Business Galleries Saltz recently reviled. Read it all here.
Between the dream and reality — Lori Felker news recaps at 4am
“I read the headlines all day. At night, I recalled what I knew. I went to sleep. I woke myself up. I reported the newest news I could muster. I went back to bed. I forgot what I said. I asked my graphics team to rebuild the news after I broke it.”