:: Buzzwords Archive: May 2013. Click here for the latest posts.

The Missing Links (published 19/05/2013)

Chris Petit‘s The Museum of Loneliness. * A brief history of appropriative writing. * If streets are sentences. * Celebrating the A303. * An interview with Glenn Branca. * The Japanese have a name for it: tsundoku. * What next for Joshua Cohen?: “It’s the book Nabokov would’ve written had he liked Joyce”. * Robert Walser: scribe of the small. * An introduction to Josef Winkler. * Ben Marcus on “The Dark Arts“. * On Anne Carson‘s Red Doc>. * He is perhaps the closest Ireland has come to producing a Susan Sontag: Brian Dillon interviewed by Kevin Breathnach: “My patience for fiction that isn’t very sophisticated is kind of limited. This sounds stupid, but I like really, really, really good fiction. I get bored very easily with what you might call ‘middling’ fiction”. * Ben Greenman and Darin Strauss in conversation. * An interview with Maggie Dubris. * WG Sebald‘s legacy. * Sebald‘s A Place in the Country reviewed. * Tracking Sebald. * A conceptual literature bibliography. * Stop the South Bank developers! * Femen. * Mike Covey‘s “The Offbeats” (featuring Ben Myers, Joseph Ridgwell, Matthew Coleman and a brief cameo by Lee Rourke). * A forthcoming documentary about JD Salinger. * Generation X to reform? * An interview with David Shields. * Faction of the Fox (thanks guys!) * Prozac and artistic creativity. * Garbage girls. * Iain Sinclair and Jonathan Meades in conversation (video). * A museum devoted to East Germany. * Nina Hagen interviewed. (See her infamous live masturbation lesson here.). * Kafka‘s Metamorphosisread backwards. * “Did you hear about the Oulipian stripper? She delivered a lipogram before vanishing, with an invisible wink.” * Ten Lessons in Theory. * Stanislaw Lem‘s Summa Technologiae. * Punk as fashion, music, and theory. * Paul Auster and J.M. Coetzee‘s correspondence. * Bill Drummond. * As I Lay Dying trailer. * Adrian Tahourdin on the one and only Iggy Pop. * John Berger‘s G. * Laurie Penny‘s “Saudade“. * Quiet Paris. * Dan Holloway on the Albion Beatnik bookshop‘s viral success. * Empty hotel corridors. * Retyping The Great Gatsby on a 1936 Remington.

Twitter: @andrewgallix

3:AM in Pseuds Corner! (published )

Our job is done: we’ve finally made it into Private Eye‘s legendary Pseuds Corner! OK, it’s cheating a bit. The offending article — which appeared in “The Missing Links” — is in fact a quote from Dan Holloway about his wordless novel Evie and Guy. Thanks Dan, we’re sharing this accolade with you.

The More Difficult to Pronounce, the Better (published 18/05/2013)


Hello,

I am editing fiction for 3:AM Magazine this summer. Guidelines.

A couple of things I would like to add:

Ezra Pound’s poem “Portrait d’une femme” was “rejected by the North American Review in January 1912, according to Pound, on the grounds that ‘I had used the letter ‘r’ three times in the first line, and that it was very difficult to pronounce.’” *

Line: “Your mind and you are our Sargasso Sea,”

I don’t edit this way and frown upon those who do; in fact, the more difficult to pronounce, the better.

James Salter: “The secret of making [art] is simple. Discard everything that is good enough.”

I am not looking for toss-offs or something “good enough” for an internet journal. This is 3:AM Magazine, it’s been here for over thirteen years, that’s centuries in internet time.

If this is brusque, think of the process this way. Roughly 15% of all submissions (print, internet, and otherwise) never get replied to. I am replying to all because I take this seriously.

Here are links to two shorter stories that I was grateful to be an editor for:

Amber Sparks’s “May We Shed These Human Bodies”

Lance Olsen’s “Robert Smithson”

Best,

Greg Gerke

* Ezra Pound, New Selected Poems and Translations p.287

Critics Who May Not Yet Exist (published 17/05/2013)

Hi. Susan Tomaselli is taking a well-earned sabbatical from 3:AM this summer, so I’ll be stepping in as co-editor in chief, focusing on non-fiction. I’ve been commissioning for 3:AM since 2011, so some of you will know me, and will have worked with me already. But I’d like to say that, right now, I’m open for speculative pitches and submissions, and will be reading them continuously. So get in touch. I’ll be especially pleased to hear from you if you have an idea for an essay, interview or book review related to one of the following three areas, which I’m keen to increase our coverage of:

– Fiction in translation
– Contemporary American fiction, particularly work published by small presses
– Critical theory and continental philosophy

A brief word about book reviews: I love long-form criticism, and rarely impose word limits. As long as your writing is strong and self-consistent, I won’t ask you to simplify it for the sake of “accessibility.” Similarly, for fiction reviews, I don’t demand banal contextualization or plodding plot synopses. Online, the form and function of criticism are fair game for redefinition. I encourage criticism that is creative, unconventional, and that brings books into active collision with the lived experience of the critic. Of course, I’ll happily publish a thoughtful journalistic review. But if you’re willing to write something a little wilder, I’ll welcome it with open arms. If you’re wondering what I mean, here’s a favourite quote, from Geoffrey Hartman:

It is not an exaggeration to say that the critic has become a retainer to those in our society who want not the difficult reality but merely the illusion of literacy… if he becomes a journalist or reviewer he flatters, cajoles, and admonishes the authors of books whose profits keep the publishers happy and his own job relatively secure. The only critic, therefore, whom we must take seriously is one who may not yet exist: who overextends his art, having decided that his role is creative as well as judicious. The critic’s words should enter the world of art even as the arts and institutions he comments on have entered his. As the work of art is an event in the history of interpretation, so the work of interpretation is an event in the history of the work of art.

Thanks, and best wishes,
David Winters