Wednesday, November 9, 2011

I read a lot which means I'm cool and increases my chances that people wearing glasses will like me

I fell a bit short of my goal of reading 100 books in the past year (yes, I start my years in November -- so radical, I know), still, 72 books isn't bad for working more than 40 hours a week, and I'm not even counting 25 or so chapbooks of less than 20 pages. I wanted to write a mini-review for each book, which, sadly, is far from a novel idea. So I'm ratcheting it up a notch by writing each review as a quincouplet, which is basically a five-word poem with two words in the first line and three in the second. The form was originated by Benjamin Krause of twenty20 Publications and Diamond Point Press, in whose forthcoming quincouplet anthology I'm happy to have a few of my pieces appear. So yeah, five words per book, except for the ones I've already reviewed, because I've spent enough time thinking about them. 



“The Blue Tower” by Tomaž Šalamun: Slovenia’s genius / happy nihilist trees

"A Season in Hell and The Drunken Boat” by Arthur Rimbaud: l’enfante retourne / ma tête brûle

"Gardens of Earthly Delight" by George Williams: review forthcoming / sometime next month


"In Lieu of Hartshorn" by Travis Brown: Greying ghost / makes nice things


"Sex at Noon Taxes" by Sally Van Doren: language games / can get naughty

"Nemesis" by Philip Roth: grandpa’s ramblings / still, polio sucks

 “Illuminations" by Arthur Rimbaud: l’enfant terrible / c’est mon favori

"A Shiny, Unused Heart" by J.A. Tyler: review forthcoming / The Brooklyn Rail


"In Watermelon Sugar" by Richard Brautigan: don’t, tigers / eat less parents

"Elect Mr. Robinson for a Better World" by Donald Antrim: coral do-gooders / delusions from fish

"Another Bullshit Night in Suck City" by Nick Flynn: best memoir / I’ve ever read

“Brooklyn” by Colm Toibin: historically trite / well-formed but sleepy

"Emotionless Souls" by David S. Grant: how come / this is published?


"Rushing to Paradise" by J.G. Ballard: bored Polynesians / make nice bombs

"The Trial" by Franz Kafka: this feels / like contemporary non-fiction


"The Laurel Poetry Series: Byron": this dude / got some ass

"The Body Artist" by Don DeLillo: ethereal freak / not much happens

"Wild Animus" by Rich Shapero: self-published drivel / could use editing

"Martini: A Memoir" by Frank Moorhouse: drink, drink, / drink, drink martinis!

"The Iguana Complex" by Darby Larson: dreamy mindfuck / felines elicit resentment

"The Fermata" by Nicholson Baker: epic perversion / but no boner

"Micro-Fiction" edited by Jerome Stern: short flash / some really flashy

"Story of My Life" by Jay McInerney: cocaine schoolgirls / always a hell


“Killing Yourself to Live" by Chuck Klosterman: tragic roadtrip / culture-subverting truth monkeys

"Trust" by Liz Waldner: these poems / make me scrunch

"Burning Girl" by Ben Neihart: Baltimore love-thing / stranger than anticipated

"Drinking Until Morning" by Justin Grimbol: dude drinks / weird things happen

"The Illustrator" by James Robison: bohemian pederast / gets more bohemian

"The Rainbow" by D.H. Lawrence: modernist porn / Lawrence’s a boss

"Bright-Sided" by Barbara Ehrenreich: thinking positive: / pretty darn stupid



"Train Wreck Girl" by Sean Carswell: girlfriend dies / future looks brighter

"I Am Going to Clone Myself Then Kill The Clone and Eat It" by Sam Pink: bottled rage / seldom this insightful

"Out Of Touch" by Brandon Tietz: Emprise Review, / where’s my review???

"Ham On Rye" by Charles Bukowski: your childhood / wasn’t this bad

"Things Are Happening" by Joshua Beckman: I love / all your words

"Affluenza" by David LaBounty: weird neighbors / are probably mass-murderers

"The Maltese Falcon" by Dashiell Hammett: men once / were hardboiled badasses


"How Can I Help?" by Ram Dass: Hindu gurus / make nice houseguests 

"Vox" by Nicholson Baker: phone-sex paradise / no plot necessary



"The Good Soldier" by Ford Madox Ford: post-WWI masterpiece / Englishmen were sneaky

"Go" by John Clellan Holmes: Beat precursor / better as concept 

"Factotum" by Charles Bukowski: odd-job perils / booze away dogma

"You Get So Alone At Times That It Just Makes Sense" by Charles Bukowski: how sparrows / like drowning happily

"The Pill Versus The Springhill Mine Disaster" by Richard Brautigan: hippie’s lament / time to grow

"Bring Me Your Love" by Charles Bukowski: Crumb cartoons / make Chinaski monstrous


"Generation A" by Douglas Coupland: bees gone / Shytengart’s future’s worse

"South of No North" by Charles Bukowski: early drunk / before real decay



"Waiting For Godot" by Samuel Beckett: god laughs / at bumbling Frenchmen





"The Essential Numbers 1991 - 2008" by Gordon Massman: insanity is / the fucking shit

"Super Sad True Love Story" by Gary Shteyngart: near-future ache / China should frighten

"Good, Brother" by Peter Markus: mud people / fish solicit violence


"My Father's Tears and Other Stories" by John Updike: Rabbit runs / out of time

"Without Wax" by William Walsh: 18-inch lovemeat / even sadder anomalies 

“Rabbit, Run” by John Updike: this guy’s / a real jerkoff 

“Fragments of Sappho” by Anne Carson: lesbian poets / write radical verse

“How It Ended ” by Jay McInerney: I wish / I’d written these

losers, lesbians, perverts

My review of Tiff Holland's Betty Superman is up at Used Furniture Review. I really loved this little 32-page book, made me wish I had a super dysfunctional childhood. Much thanks again to David Cotrone at UFR for the acceptance!

Tuesday, November 8, 2011

Budweisers and copyediting stole my 26th year!


You guys should check out an essay by the inimitable John Reed, “Arthur Phillips Stole My Bike,” in this month’s Brooklyn Rail. There’s a lot going on here: A heated dialogue about how best to create a new Shakespeare play using the Bard’s own hallowed (or hollowed) words; the value of community in a literary world that too often caters to isolationism; the controlled chaos inherent in being a working writer and professor; a touch of nostalgia for a Manhattan childhood and young adulthood; the complexity of getting anywhere on time in New York; a mysterious theft.

As personal essays written by NYC fiction writers are wont to do, I found myself considering my own situation as it pertains to literary things (solipsism alert!), and realized that this year has been somewhat of a setback. Sure I’ve tinkered with my novel a bunch (which hasn’t slowed the slew of rejections), published a bunch of reviews, an e-chapbook and a few poems, but I could have done so much more. I’m not talking about writing 2,000 words a day and finishing a novel and two books of poetry in six months, I mean in like, life.

Like, it probably wasn’t the best idea for me to sit on my boxered ass all day every day taking six hours to complete freelance work that could easily take three, thereby destroying any time to do work I actually wanted to do. Like, going to the same seven or eight bars and making no effort to look on either side of the Budweiser pressed to my rotting lips. Like, feeling fine continuing as a doorman for way too long when other opportunities have continued to slap my jaw and I do nothing but shirk. Like making, uh, not much effort at trying to meet girls and forming what could be considered the loosest of interpersonal post-friend-level bonds, and heroically sabotaging anything that might actually be good for my lonesome ass. Like, failing to immerse myself in the many coteries of writers this fine city offers (What John’s saying about the need for community and collaborating, duh) and remaining a mostly anonymous curmudgeon.

This ineptitude, coupled with the fact that my freelance contract of 1.5 years has ended without much of a warning (putting the “starving” back into my job description), has me feeling better and happier than I can remember. Spending one’s time working alone can only be justified by meaningful work, not mind-numbing “editing” work for a major corporation that will probably tank within the next few months. What my week now lacks in a nifty paycheck, it makes up for it with TIME. Time to write what I want, to finish/start projects I’ve been brooding over for months, to work on the literary magazine that I know can do big things. Not as much money to decimate my once-youthful body with toxins and lard, and I've never felt so fucking energized, baby!!!

Events will be attended, group projects will go down (including a Monkeytown screenplay collab I’m not at liberty to discuss)! Time to get excited, 2012 might actually turn out OK. Until December 21.

Also, I just wanted to mention that Short, Fast, and Deadly in its current incarnation has put out its final issue. I am eternally grateful to SFD for publishing many of my flash fictions and poems in the magazine and in the 2010 Anthology. I’m more stoked that I will be the staff chapbook reviewer at the bigger, badder Short, Fast, and Deadly Monthly, dropping this January. Watching the empire grow from within.

Stay posted, and stay fulfilled! Hoo-ah!

Tuesday, November 1, 2011

so, like, y'all do jaga bawmbs n champang, dog?



A few observations working the door in the West Village during the Halloween parade:

*  I can’t look at girls wearing 1920s flapper costumes without thinking about Nucky Thompson’s Gollum-like sex scene in this week’s Boardwalk Empire. Thanks for ruining Prohibition for me, Buscemi.


*  Seeing Pokey without a Gumby is a very real sadness.


*  Manhattan high schoolers are ballsy. Sorry kid awesomely dressed as MacGruber. I appreciate your ID that’s not only printed on a sheet of China-grade cardboard but also has been expired since 2006, and the $200 of your allowance you’re offering to get you and your generically slutty teeny bopper friends with no IDs in the bar. Come back when there isn’t a police blockade grilling me from across the street. You’re probably undercover cops aren’t you, little shits…


*  Being “sober” on Halloween sucks. Being sober while wearing a costume would be worse, I guess.


*  There is an inverse relationship between wearing a costume and enjoying oneself at a small, intimately lit bar where mellow jazz is being played. If you are wont to ask doormen, “Yo B, how much it cost to check out this fly downstairs club, dog?” you probably won’t have a good time. I’ll take $100 though.


*  Haven’t seen this many Impalas on two wheels since the last time I YouTubed Dr. Dre.


*  Best costume award goes to a girl wearing a parasitic twin dressed as a vampire from Twilight. I’d like to think that this is apt satire commenting on Twilight’s – and junky YA in general – suckling of America’s collective diabetic teat, but even if she’s just #TeamJacob, it’s still hilarious.


*  200-lb black lesbians dressed like Scottish warriors from Braveheart are some of the very nicest people.


*  More of a general thing, but it’s really obnoxious when people walk up to me and ask if we’re closed. Yes, because most drinking establishments employ guys to stand outside just to tell people that they aren’t open. I’m a humansignpostipede!

Wednesday, October 26, 2011

The baby elephant gagged on it a little




Just finished the first offering of what is sure to be much awesomeness from Plain Wrap Press, Janey Smith’s Animals. This unassuming creature sneaks up with major oh-you-think-this-but-really-uh, like, you wake up at the crack of dusk, casually chilling, when, excuse me, a giant polar bear sidles up on its belly all who’s-the-boss and totally infiltrates the Zen of your nose-picking and self-dithering session. What? Many more pleasant oddities ensue – the plight of the Joey (the infant kangaroo, not Lawrence), a bossy pet pygmy, more baby animals feeling the sting and shirk of that bigger beast, Capitalism – all in a neat 66 mini-pages. Animals’ super-cute, compact and pale packaging (and isn’t that the best kind) almost made me feel bad for putting it down when I was done, as if to say, “Dude, you’re going to ruffle through me, leave my pages all dog-eared and finger-moist, and you’re not even going to spoon with me for an episode of Toddlers & Tiaras?!” One of my friends thought the book would make a nice coaster for his PBR tallboy (damn hipster). Another tried to use it as an effective, if far-from-deadly ninja star. Some of my friends don’t read good. But if you do read, you should do yourself a favor and give this little guy a scratch. It won’t bite too hard.

Sunday, October 23, 2011

it takes less muscles to smile than to swallow a snowball

Got a couple new reviews up. Andrew Borgstrom's Meat is All, -- another awesome Nephew of Mud Luscious Press -- at Outsider Writers Collective. This book is seriously insane, both visually and thematically and whoa dude, gave me nightmares, but good ones, the kind I wish I could always have, only problem is I think it's sold out. If you're nice, I'll lend you my copy.

 Haven't done a lot of music reviews recently, but I couldn't resist writing a few words about Diarrhea Planet's debut LP, Loose Jewels. The review is up at DeckFight, a really cool Southeastern rock blog and chapbook publisher. DP -- Punk meets pop meets just raging out and loving life. This CD will be my workout mix and my pre-party pump-up jam for months to come. 


Thanks to the editors of both websites for being nice enough to sully their screens with my words.

Friday, October 21, 2011

The Five Things That Piss Me Off The Most While Bouncing in Manhattan



To support my meager freelance earnings and non-existent literary earnings, I work at a bar where I mostly man the door. Said bar is one of downtown Manhattan’s swankiest neo-speakeasies, an underground mixology nerd’s wet dream, where bartenders slang $13 cocktails and the wait to get in is seldom less than 20 minutes on a weeknight. While “bouncer” is an accurate description of what I do, the bar’s clientele – off-duty bankers, successful creative types, NYU hipsters armed with Daddy’s PIN – aren’t usually in need of being bounced, and at a slightly out-of-shape and pasty 5’10”, I don’t cut anywhere near as intimidating a figure as my burly counterparts manning the gates of posh Meatpacking District clubs and frat-soaked yuppie-pits in Murray Hill. So I’ve tried to keep the following list of things patrons do that never fail to irk me as universal as possible, in the hopes that the city’s barflies might realize the mental anguish they enact on my brethren and me each long, tumultuous eve. Not that they’ll change, but I can still gripe. 



1. Guys Who Wait for Girls to Show Me Their IDs Before They Show Me Theirs


This may not seem like a big deal. What’s the problem with a guy trying to act courteous, it’s the same as holding a door or pulling out a chair, right? The problem is that when you see a social gesture as pointless this one again and again, it begins to gnaw at your soul in the worst way.

Real-life example:


Guy comes up to the bar with his female companion. Seeing that they are dressed business casual but are on the young side, I ask for identification. Of course the girl is the proud owner of a monstrous satchel whose ideal purpose seems to be transporting large human body parts. While she scours through the expanse of fabric, I am dutifully holding the door (a super heavy old-school metal door) open. The guy has his ID out but for some reason is declining to give it to me. After 45 seconds of me extending my hand to this character like a mongoloid and his girl still digging around, I say to him, “You know, I can see your ID now.”


“I’ll wait.”

Uh. More digging.

“So why don’t you just show me your ID now.” Still holding the door, arm getting sore.

He looks at me like I just crapped jelly beans out of my nose. “It’s called being a gentleman.”

“Oh?”

Girl: “Yeah! He’s a gentleman!” Makes loopy flutter-eyes that make me want to expell jelly beans out of multiple orifices.

Fast-forward through way too many seconds of my life and the girl finally finds her ah, NEW JERSEY driver’s license. The guy, who’s been grilling me like I’m some kind of ingrate for longer than I like, gracefully allows his stiletto-heeled plunder to saunter down the stairs. He nods at me grotesquely, follows. I finally close the door behind them, stretch my arm, and that’s it.

So a guy waited for his girlfriend so she could give me her ID first. It wouldn’t have been a big deal if his reasoning had been different. Because as I see it, part of what defines a gentleman is a combination of courtesy and tact, shown not only toward the objet d’heure (the insipid and unremarkable Jersey girl), but to all rational souls he encounters. Considering myself to be rational for the most part, I find it a little ungentlemanly that someone would want to make me hold a heavy door like an idiot for any unnecessary amount of time. It would seem more gentlemanly to make the process as efficient as possible for all parties involved (especially given the fact that it was cold and rainy on the night in question) and to escort his lady as quickly and as safely as possible. Unless you consider bouncers to be somewhat less than human, which seems to be a fairly common opinion.



2. Talking


The cold, misanthropic door guy is a pervasive stereotype, and a valid one. If every bouncer you encounter seems more content to keep his arms crossed and stare into space or constantly check fantasy football stats on his phone than strike up a conversation, it’s because of what those conversations will inevitably entail. 75 percent of the time when guys in line interrupt me from my mobile Drudge Report, it starts well enough: “Hey man, how’s your night going? What drinks do you recommend? You don’t look like a bouncer, what do you really want to do?” And that’s cool, until the real reason for bothering me rears its douchey head: “So, like, I’m trying to come here next week with a girl. Will we, you know, have to wait in line? I mean, we’re practically best friends, I know you’ll remember me. Just in case, give me your number and I’ll call you so you won’t forget. Thanks so much, bro!” Bouncers, and especially those who work at places where there’s a wait to get in, don’t want to make friends. We want to survive a drama-free shift, avoid tranny crackheads on the 4am subway and watch re-runs of Ancient Aliens until sunrise. Giving us a hefty bro-pat will not help to differentiate you from the hundreds of obnoxious faces we cringe at on a nightly basis. You won’t be receiving the James Franco treatment, or even the Paul Giamatti treatment.

And ladies, I’m not stupid. I know what you’re trying to do every time you gush about how crazy it is that we both went to boarding school in Connecticut (OMFG!), how I could be a stand-in for Pick-Any-Conventionally-White-Movie-Star-of-the-Past-Decade, how you think it’s so noble that I freeze and/or sweat my ass off outside a bar for seven hours at a time to support my, like, TOT-ALLLLLY interesting artistic endeavors. Not to say that I don’t find the cleavage-pops, the pouty faces and the inappropriate touching at least a little amusing, but it still won’t help you get in.


Advice to both genders: Save your vocal chords for your actual friends. Quiet and respectful always trumps faux-friendly douchebaggery. Unless you’re familiar with the Ben Franklin Handshake. Provide one of these and not only will you get in immediately, but we can also discuss the latest advances in biomedical engineering or how much you hate the new Facebook for as long as you want.




3. Checking Women’s IDs


This is your classic no-win situation. If I ask a group of women for proof of age, they will most always roll their eyes while digging through their heinously large bags and mutter something about how they haven’t been carded in, like, for-EV-errrrrrr! If, however, I decide to be generous and save these same women the trouble of rummaging through godknowswhat and let them in sans IDs, I’ll get the same eye roll tinged with more than a hint of utter desperation: “But, but…I feel so old! Do I really look that old?? I’ve never not been carded, wah, wah, wah…” It’s not flattering for anyone involved. Also, failing to acknowledge that it’s a woman’s birthday (And why anyone would want to celebrate any birthday after age 21 is beyond me) is apparently equivalent to hoarding child porn. Hint: We only look at the year on your ID, as in, we don’t care.

On a side note, my friends always ask me how I fail to pick up more women at work. Valid question. I let any number of gorgeous girls pass me by with nary a nod. I’ve already explained why I avoid talking to women. Seriously, if a young lady wearing shoes that cost more than my monthly salary and wielding a monstrous piece of stow-away luggage also known as a “purse” rolls up with older dudes, suited or otherwise, who are all clearly balling, I doubt she’s on the prowl for some side bouncer action. That may sound defeatist, but what else do I really have to offer? My MFA degree? Ooooh, those are really sexy, and profitable! If a woman is genuinely interested in me she should probably stop drinking outrageously expensive vodka tonics because she’s going to have to support my writing struggles for the next, well, until I stop writing.




4. Europeans


The bar where I work gets a lot of tourists. The majority of these are from Western Europe. I don’t know what they write in NYC guidebooks, but I do know that these books are in desperate need of some editing. To my friends from across the sea (especially the French, Italians, Germans, hell, everyone), let me simplify things. 1. In America, we card. I don’t care if you just got off a plane, if you left your passport in the hotel, if “In my country we do not do this,” if your accent is in fact pretty sexy, I still need to see your ID or you’re not getting in. 2. “But what is this line you speak of? In my country we do not…” Stop right there. You understand the concept of a line. Tribesmen in Indonesia who have never had the pleasure of going through airport customs understand the concept of a line. You should be so lucky. 3. Loud soccer chants are unacceptable. Chanting of any kind is generally discouraged. 4. I know the Euro has taken a hit recently, but if you leave less than $5 on a $91 tab, the bartender will send me pissed off texts with frowny faces and chances are you won’t be receiving the same quality of service upon your next visit, because if I recognize you, we’re going to magically be at capacity the rest of the night. 5. Not all Americans, especially New Yorkers, are monolingual heathens. If you’re two feet away talking shit about me in French or relatively coherent Spanish, you’re going to be sober for a long time. ¿Comprende?



5. “Is this a line, or are these people just…”


I know we’re all oblivious to what’s going on around us most of the time. You’re cruising down 7th Avenue, earbuds blasting Katy Perry just loud enough for no one else to hear, hoping your boss doesn’t email you with any extra work, wondering whether the Gchat your OkCupid date sent you an hour ago contains kinky undertones (why all the barfing emoticons??), hoping your date loves swigging Old Fashioneds as much as you do, I get it. There’s a lot going on up there to distract from the here and now. But when you approach your drinking destination and fail to notice the 20 people neatly lined up double-file against the side of the building, all glaring at a guy in a suit in front of the entrance ignoring them and playing Brick Breaker on his Droid, it’s obvious what’s going on. I can’t count how many times I’ve had a person saunter past me and reach for the door, only for me to explain that all these people currently stabbing him or her with their eyes are waiting to get in and that he or she needs to promptly take a position at the back of the, what’s it called? Oh yes, the line. The once-dead eyes light up with indignation. “But, but…I thought all these people were smoking.” No one is smoking. “I thought all these people were standing around.” Yes, because people in New York love to stand in an organized fashion observing the bricks on the side of an otherwise nondescript building! Then there’s my favorite: “Oh, I didn’t see the line.” Granted, these responses could just be covering up for failing at a rather stupid ploy to gain early admittance, in which case, congratulations, you now look stupider than if you had just gone to the back of the line. And if you really are that oblivious to your immediate surroundings, you’ve got much bigger problems than having to wait in line for a drink. In fact, you should probably quit drinking and never bother me again. Have a GRRRREEEAT evening!



Honorable Mentions


6. Using the word “cheers” for anything besides toasting
7. Using the word “queue” for any reason
8. Name-dropping
9. Asking how long the wait is going to be
10. Australians

*If my bosses read this, just kidding about the Ben Franklin Handshake

Tuesday, October 11, 2011

flutter-shaping on your skin

The Indefinite State of Imaginary Morals by Rae Bryant
Patasola Press, 2011
173 pages


Rae Bryant’s first collection, The Indefinite State of Imaginary Morals, is so good it makes me angry. Firstly, because I’d never checked out any of her stuff before digitally stumbling upon this book. And more importantly, because her mastery of short stories and flash fiction makes my own half-baked efforts look like the work of a lazy neophyte who’s got years of training before he can hope to come close to crafting something even resembling Morals. Enough about me. Fractured human relationships lie at the core of most of the stories. A brief oil change from a technician named Jesus (pronounced Jeezus) puts a vicious dent into an already deep rift between a gracelessly aging husband and wife, a naïve country girl is almost seduced by her creepy cousin, dysfunctional anguish creeps into much of what artists perceive: “never leave an artist alone gazing into the face of death. The artist will likely fall in love.” Though the stories vary greatly in length (six words to several pages), and Bryant experiments with an impressive variety of narrative techniques, each possesses a pitch-perfect and gut-jabbing emotional weight, frank and disturbing, yet necessary eroticism, and a rousing postfeminist badassitude. The prose’s genius lies in the effortless way it condenses a fury of psychological heft – shockingly cold sexuality, a simultaneous need and revulsion for physical contact, a desire to emasculate and to remain subservient, a fierce confidence in identity – all in the course of a few carefully crafted phrases:



“Clothed, sitting, shoes back on, I turn to him before leaving. ‘Is this who I am? Plastic, smooth and pretty?’ And as I say it, my shame is there, but so is a wish for these shallow things. To be what is expected of me might make the days easier.”



Sandwiched between the stories are nine artworks by 19th-century erotic symbolist Gustav Klimt onto which Bryant has scribbled an array of sometimes caustic, sometimes dark and sardonically humorous musings. Though I didn’t find “Klimt Redux: A Study in Desecration” as enthralling as the fiction, I do think it provides a worthwhile visual component to themes rehashed throughout the book, and Bryant does a great job subverting what Klimt’s work represents to her – “Woman as appropriated through the eyes of a man’s brush” – and absorbing it into her wryly empowering ethos. This is certainly one of the best story collections I’ve read this year, and an equally impressive full-length debut from Bryant and the folks at Patasola Press. Check it out!

Sunday, October 9, 2011

The creases spread horizontally

I recently posted a couple of new Monkeytown excerpts here and here at Fictionaut. Also, still looking for more submissions at Apocalypse Piñata. We've got some good stuff lined up for the first issue, but we could always use some more. 

Wednesday, September 21, 2011

Our summers were idyllic. Maybe that makes us weird.

I've got a short chapbook, Recurring Childhood Nightmares, up at Ten Pages Press. The book is comprised of 10 flash-fiction "nightmares" that each correspond chronologically to a year in the life of a 26-year-old narrator. There's also a bonus poem about hipsters.

Six of the pieces -- "Buddy," "Why He Went to Guernica," "The Parents Were Made of Gas," "Virtual Zuckerbergian (un)Reality Blues," "American Hubris," and "Homesick at Adult Camp" -- originally appeared in Short, Fast, and Deadly. "Nobody Likes a Pragmatist" appeared in Staccato Fiction a while back. And I put up "Three Degrees of Separation from the Same Thing We Were Still Supposed to be Thinking About" on Fictionaut a couple weeks ago. 

Much thanks to Craig at Ten Pages Press and the editors of the journals where the fictions originally appeared.

Tuesday, September 6, 2011

submit!


 The Apocalypse Piñata Submission Manager is fully operational! Send stuff now. Launch will be in October. Or if you want, you can still submit to apocalypse.pinata@gmail.com. Whatever works best for you.

a nice, good chap

I'm stoked to be the chapbook reviewer for the forthcoming print publication Short, Fast, and Deadly Monthly, which will be launching in January 2012. I'll also be posting 420-character reviews on Deadly Chaps Press' Facebook page as soon as I get some scribbles down. On that note, if you wrote or published a chapbook or echapbook you want reviewed, please send it to me and I will be happy to promptly take a look at it and write about it. If you know of any chapbook or echapbook that is awesome or not so awesome, I would like to look at it and promptly write about it. Get in touch with me at christopher.vola@gmail.com because we all like chaps and you seem like a good person.

Also, I wrote this novel called Monkeytown when I was in grad school. It's a transgressive thriller about an orphan named Josh from Connecticut who gets involved with a bunch of faux-terrorists in the Blue Ridge Mountains of Virginia. I'm going to start putting chapters up on Fictionaut because I can't figure out what to do with it just yet: more submitting to skittish presses or the incinerator? Feel free to check it out and hate it and comment on its sophomoric vapidity and gore-porn. Or maybe you'll like it and don't want to comment. Either way.

Tuesday, August 30, 2011

I just ate two KFC Double Downs

Got interviewed by this literary blog, plain wrap. I'm not special, they interview all their Facebook friends, which is a pretty cool idea.

Wednesday, August 17, 2011

Any movement / can be part / of the dance


[Love in a Time of Paranoia is the first installment of Diamond Point Press's twenty20 Chapbook Series, produced by the folks at the always inimitable twenty20 Journal. The book is comprised of 20 poems of 20 words or less, ergo a 20-word review]

Love in a Time of Paranoia by Howie Good
Diamond Point Press, 2011
26 pages


Each Good word a heart-headed stalactite, poems a cavern battered by the smallest front-page raven. Carnage-mongers, our time is moot.

Monday, August 15, 2011

Saturday, August 6, 2011

Into the Rabbit Hole with Goals (and Guidelines)


                                           examiner.com


I’m about to start reading John Updike’s Rabbit, Redux so I was checking out his Wikipedia page and I saw that a feminist critic once described him as a penis with a thesaurus. Which is pretty hilarious if you try to picture a penis reading a thesaurus. Anyway, I also like writing book reviews and I was reminded that Updike’s personal rules for literary criticism (first imparted in Picked-Up Pieces, a 1975 prose collection) are probably the best guidelines for how to write solid reviews, whether you’ve been reading freelance gigs at The New York Review of Books or working at a college paper. I always use the rules as a checklist before I send something out.

      1.  Try to understand what the author wished to do, and do not blame him for not achieving what he did not attempt.

     2.  Give enough direct quotation – at least one extended passage – of the book’s prose so the reviewer’s reader can form his own impression, get his own taste.
     
     3.  Confirm your description of the book with quotation from the book, if only phrase-long, rather than proceeding by fuzzy précis.

     4.  Go easy on plot summary, and do not give away the ending. 

     5.  If the book is judged deficient, cite a successful example along the same lines, from the author’s oeuvre or elsewhere. Try to understand the failure. Sure it’s his and not yours?

     To these concrete five might be added a vaguer sixth, having to do with maintaining a chemical purity in the reaction between product and appraiser. Do not accept for review a book you are predisposed to dislike, or committed by friendship to like Do not imagine yourself a caretaker of any tradition or enforcer of any party standards, a warrior in any ideological battle, a corrections officer of any kind. Never, never…try to put the author “in his place,” making him a pawn in a contest with other reviewers. Review the book, not the reputation. Submit to whatever spell, weak or strong, is being cast. Better to praise and share than blame and ban. The communion between reviewer and his public is based upon the presumption of certain possible joys of reading, and all our discriminations should curve toward that end.

Even during his peak period, Updike was known as a purveyor of the old school, but as long as books remain jumbles of letters on pages or screens, his rules will always be a great starting point for how to approach talking about literature. Check out any good review and you’ll see all of these rules. Long live the educated penis!