Tagged: reading list

Fall 2017 Notes & News

Below find, in order, one dispatch from Communal Presence, some news, and a pile of enthusiasms.

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COMMUNAL PRESENCE

Last weekend I was in Berkeley for Communal Presence: New Narrative Writing Today, featuring the legends of New Narrative past and present: Bob Glück, Bruce Boone, Dodie Bellamy, Kevin Killian, Camille Roy, Renee Gladman, Dennis Cooper, Eileen Myles, Gabrielle Daniels, Matias Viegener, Roberto Bedoya, Rob Halpern, Gail Scott, yes yes and so on. Seeing all of these writers together in the same room was exhilarating and historical.

In the first plenary, devoted to Kevin and Dodie’s recent anthology Writers Who Love Too Much, Gabrielle, Matias, Roberto, Dennis, and Eileen each briefly shared their own histories and entanglements with New Narrative – how they found it, how it found them. Gabrielle, chronicling what she described as her “apprenticeship” with Bruce and Steve Abbott: “It was a time for my mind to be blown.” Roberto, on “being inside and outside of aesthetic ordering,” particularly as a writer of color: “in and out is a porous terrain of imagination.” Dennis: “Sometimes I was part of [New Narrative], like Kathy Acker, and sometimes we weren’t….now I’ve become lifelong friends with these writers.” Matias [I’m paraphrasing]: “all of us were thrown into these [given] families and then you get a choice, but so much randomness is involved…so many of the people here have become fixtures in my life, and it’s kind of miraculous.” Eileen: “I feel like I’m just hanging out with my teachers…in New York I had learned that you hung out with people who had what you wanted. Each of these guys had what I wanted and I happily took it.” Eileen on meeting Dennis: “We didn’t meet, our magazines met” (Eileen’s Dodgems meeting Dennis’s Little Caesar).

Later, Renee Gladman, in a panel called “New Enactments”: “To be in narrative now is to be in an already fractured state.” At the final marathon reading, she read a stunning piece that got cut out of Calamities; in it, she engaged with Gail Scott’s notion of “a community of sentences” to describe this whole moving architecture of interacting, communal language.

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My panel was also a highlight! Sam Cohen and I organized “Bad Boundaries II: Ethics in New Narrative Writing” as a continuation of a panel we put on for the most recent &NOW Festival (2015 in Los Angeles). Maxe Crandall started it off with with a presentation on Poets Theater. “Why is Poets Theater ‘over,’” he asked, “when New Narrative is ongoing, ever-relevant?” He suggested that it may relate to a new cultural investment in the star system–“Poets Theater dies when the star system becomes real.” Three performances on Saturday revived Poets Theater works by Carla Harryman, Kevin Killian & Brian Kim Stefans, and Camille Roy; I trust Maxe (et al.) will keep the medium alive in new forms.

Our panel continued with Nikki Darling, whose paper made connections between New Narrative, magical realism, and experimental fiction as a whole, working to situate both Gloria Anzaldua and Lidia Yuknavitch within the tradition.

Then Sam and I read part of our chapbook in the works, which collects the two stories we each wrote about the other after our difficult breakup in 2015, and a conversation we’re calling “Processing: On Revision and Repair.” For the panel we read modified excerpts from that conversation, doing a kind of mutual overshare via public processing. The chapbook is an exercise in accountability and repair, and it’s a polarizing project: are we only poking at each other’s emotional leftovers, or are we working toward a new queer intimacy? We think the latter. Here we are with Stephen and Nikki post-panel.

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Stephen van Dyck, me, Sam Cohen, Nikki Darling (photo by Jess Horn)

Our panel competed with other good-looking panels, and there was much I missed overall. At the Saturday plenary, Rob Halpern and Camille Roy each read deeply affecting back-to-back pieces documenting care and grief for a lover’s gone body. And the opportunity to finally see OG New Narrativists Bob and Bruce read was a gift I don’t take for granted.

Kevin and Dodie’s Writers Who Love Too Much launches at Artists Space in NYC tomorrow. I reviewed it for 4Columns in April.

NEW OLD NAME NEWS

Presently going by both M. and Megan. For now I am liking holding onto my history in my name as I shift into a new embodiment. 

BURIED LEAD

I’ve got two books in the works and recently signed with Rachel Crawford at Wolf Literary Services, joining some of my favorite peer contemporaries: Tom Cho, Patty Yumi Cottrell, Sarah Gerard.

BOOK NOTES

I’d been working on a Best-of-2016 (yes, 2016!) type post that got sidetracked repeatedly by national and world events. Now I’ve turned it into an early Best of 2017(+), and I have beaten you all. Here are some (mostly) recently published books that have delighted and devastated me the past, oh, year or so.

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Myriam Gurba, Mean   Gurba’s first memoir is officially out in a week or two; I’ve got a review forthcoming in 4Columns, so more TK. But for now: the links Gurba makes here  between her own experiences of sexual assault and a much broader rape culture that pervades everything have new timeliness in connection with the Weinstein fallout and the #metoo movement. If you know Gurba’s work at all, you’ll be expecting clever, crass humor and Mean has it in spades: the book is both devastating and devastatingly funny.

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Recap: Queer & Trans Literature & Theory

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End-of-semester visualization exercise by Madison Ganson
(if you look closely you can see the GAY creeping through from someone else’s drawing!)

In the fall I taught a new English/Critical Identity Studies course called Queer & Transgender Literature and Theory. It was an ambitious course designed to explore (1) literature written by and about queer and trans people, (2) formal strategies used to enact or produce queerness and/or transness in literature, (3) the overlaps and tensions between queer and trans as theoretical and interpretive lenses; and (4) the relationships and intersections between queerness and transness and race, ethnicity, nation, disability, class, and other dimensions of social identity. It was categorized as a course in “Genre, Mode, Technique,” so I focused on the diversity of queer and trans aesthetic traditions and approached it as a hybrid course: we responded to course texts both analytically and creatively, experimenting on our own with some of the methods and strategies that some of our authors used, for example, cu(n)t-ups (after Dodie Bellamy) and fan fiction (after Tom Cho). While the course succumbed to the usual first-time problems—we read too much! didn’t read enough!—and there are certainly moves I’ll make differently next time around, I call it a success. Some people have asked to see my reading list. I’ve shared it below, after some highlights and revision notes.

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