Knausgaard on Peter Handke. * Remembering Christine Brooke-Rose. * Lars Iyer in The Quietus: “A kitschified realism mirrors the old stabilities, an older world, now disappearing. A kitschified modernism mirrors the old instabilities, the cracks in the old bowl of culture. But the bowl has shattered… So what does that mean for our arts? What would a genuine post-modernism look like? Can there be such thing?”. * Donald Antrim and the art of anxiety. * Donald Antrim interviewed. * Ben Lerner and Ariana Reines in conversation. * Tim Parks on reality fiction. * On Simon Critchley‘s Memory Theatre. * Simon Critchley and Rick Moody on Bowie. * The radical classicism of Fitzcarraldo Editions. * Mathias Enard‘s Zone reviewed. * Jorge Luis Borges: The Mirror Man. * Joshua Cohen on A Girl is a Half-Formed Thing: “What all that praise had in common, besides that it was deserved, was the sad sense that the English-language novel had matured from modernism, and that in maturing its spirit was lost: It was now gray, shaky, timid, compromised by publicity and money, the realisms of survival”. * Stream of pre-consciousness. * Francesca Woodman at Victoria Miro. * Iris Murdoch. * Rachel Kushner on cinema. * An interview with Lynne Tillman. * Sam Mills on gender and the avant-garde artist. * Regarding Susan Sontag: “All she wanted was everything: to see every film, read every book, have every experience; to understand civilization, to understand war, and fall in love. To talk to everyone interesting, to stay up all night”. * The idea of a Critical Theory. * The pitfalls of speculative realism. * Heidegger in black. * The double life of Paul de Man. * Remembering Derrida. * Brigitte Bardot. * Will Self at Shakespeare and Company. * Will Self: “All serious readers of serious literature have had this experience: time, space, and all the workaday contingencies of their identity – sex, age, class, heritage — are forgotten; the mind cleaves to the page, matching it point-for-point; the mind is the text, and in the act of reading it is you who are revealed to the impersonal writer, quite as much as her imaginings and inventions are rendered unto you”. * An interview with Blake Butler. * Chris Stein (Blondie) on his pictures from the 70s and 80s. * Vintage Viv Albertine and Paul Simonon from the fabled Laura Ashley shoot. * Sid and Nancy. * Anger is an Energy. * Chas Smash. * Northern Soul. * Bad Brains live in Florida, 1987. * 20,000 Days on Earth reviewed. * Robert Young R.I.P. * Georges Bataille‘s “The Solar Anus“. * Cocteau in London. * There’s a great review of the great Tom Bradley‘s great Elmer Crowley: a Katabasic Nekyia in the current Fortean Times: “Crowley, Fudd, Buddha, Yeats, Heliopolitan hierophants, the Goddess Baubo, assorted ‘Nilotic dream despots’, a carrot-eating Madame Blavatsky, Bugs Bunny, Daffy Duck and their Warner Brothers producer, Leon Schlesinger, bounce and boing their way across human history. These are the launch points for Bradley’s inquiries into questions of meta-ethics and truth against a background of Esoteric Hitlerists”. * Mercedes Helnwein‘s videos. * Emmanuel Carrère on Eduard Limonov: “He says to me, ‘We are not on the same side of the barricades. You are a bourgeois. I am a revolutionary. You are the kind of guy I would like to send to the gulag’”. * An interview with Sheila Heti. * The brilliance of Richard Brautigan. * Mike Leigh on Turner. * The new issue of Five Dials includes Deborah Levy and former 3:AMer Christiana Spens. * Five questions for Rachel Kushner. * Going viral. * The ethics of using location data. * Werner Herzog (video). * Parisian bookshops. * What We Wore (there’s a photobooth pic of me on the cover). * Skinheads. * Books written by computers. * Everything and Moore. * BS Johnson in the digital age. * Pic: Hurricane Watch by Jane Wilson.
On 19 October, Joanna Walsh, 3:AM‘s Fiction Editor, will be reading and talking about short stories with Chris Power. This event is a benefit in support of the Horse Hospital, which is sadly threatened with closure. Some of you may remember 3:AM‘s first live event, which took place there back on 26 July 2003. All details here.
The mighty Paul Ewen reading from his celebrated new novel Francis Plug – How to Be A Public Author at Piccadilly Waterstones last Friday, while Galley Beggar Press’ Sam Jordison looks on. (image @isabelcostello)
Brian Dillon on his Curiosity exhibition: “I think of essay writing as a kind of collage or curating of various kinds of knowledge, narrative, etc. One of the things that Cabinet does in its written contributions as well as its design, its curation of exhibitions, its presentation of images is to give this sense that the essay as a form has a material and curating element about it”. * Lee Rourke discusses Vulgar Things and Southend (audio). * Lee Rourke and Eimear McBride in conversation. * On Didier Bay’s photographic sociology of post-1968 Paris. * “The world needs its Artauds more than ever”: unhappy birthday, Antonin Artaud. * The art of distraction. * Creativity creep. * 50 years of Entertaining Mr Sloane. * Wonderful 60s snapshots of London. * The Bechers’ industrial photographs. * Paul Jasmin‘s photographs. * The history of Leica. * Updating Ways of Seeing. * Deleuze and Plato. * Kenneth Goldsmith interviewed by Sheila Heti. * Will Self in conversation with Will Self. * Shark reviewed. * Frank Auerbach, a painter’s painter. * On plotless novels. * When Ginsberg met Michaux. * Judith Wolfe on Heidegger‘s Black Notebooks. * Untranslatable words. * Conversations with Werner Herzog. * A celebration of Robert Walser. * “Full” by Robert Walser. * W. G. Sebald: a German genius in Britain. * The shock of the new (audio). * On Boyhood. * Why shorter can be better. * Douglas Coupland in London on 23 September. * Get Carter and the birth of British noir. * The art of spam in The Paris Review (my 2008 Guardian piece on spam lit is referenced). * Thomas Pynchon‘s script edits for The Simpsons. * Umberto Eco on Peanuts. * “Why I write” by Barry Hannah. * Nick Lezard reviews Boy About Town by Tony Fletcher (of Jamming fame). * Punk poster collection at Stanford. * Richard Hell and punk (audio). * Noise and power. * Are today’s intellectuals too obedient? * “The Adolescents” by Rachel Kushner. * Ben Lerner interviewed by Tao Lin: “…the nonfiction kid is waking up. And it’s my turn to change her”. * The New York Times on Ben Lerner‘s 10/04: “Formally “10:04” belongs to an emerging genre, the novel after Sebald, its 19th-century furniture of plot and character dissolved into a series of passages, held together by occasional photographs and a subjectivity that hovers close to (but is never quite identical with) the subjectivity of the writer. Its nearest relative is the work of Teju Cole, with whom Lerner shares an interest in art and the social fabric of cities. More confessional than Cole, it also shares much with Chris Kraus’s “I Love Dick” and Sheila Heti’s “How Should a Person Be,” and it is occasionally reminiscent of the work of Geoff Dyer, who will turn an essay on D. H. Lawrence or Tarkovsky into an occasion to dissect the oddities of his own personality”. * More here.
Two Clarice Lispector stories translated by Elizabeth Bishop. * Blake Butler on thirty years of Dalkey Archive. * Lars Iyer interviewed: “Black comedy, goes the definition, refuses to treat tragic materials tragically. It makes us laugh at tragic things. But I would go further, and say that black comedy refuses to treat comic materials solely comically, or satirical materials solely satirically“. * Beckett‘s role in the French Resistance. * Ben Lerner at the Met. * Brian Dillon on the prose of psychoanalysis: “The essay is a monologue pursued to the extent that we start to hear other voices, notice the undercurrents taking over”. * Tom McCarthy on cartography. * Tim Parks on reading upward and meditation. * Karl Whitney‘s Hidden City reviewed in the Telegraph (Karl is a former 3:AM editor and contributor). * On Ray Johnson. * Teju Cole: The Atlas of Affect. * Teju Cole, Tao Lin, and others on their Twitter use. * An interview with Robert Coover (video). * Geoff Dyer on the “Oh, shit!” moment. * Great interview with Lee Rourke. * Kazimir Malevich, the man who liberated painting. * Two stories by Diane Williams, followed by an interview. * Zadie Smith on JG Ballard’s Crash. * Kierkegaard and Regine Olsen. * Darran Anderson on experimental literature. * ‘Alt lit‘. * Jacques Rancière‘s lecture on cinema and the frontiers of art. * Detroit and art. * Viv Albertine. * Joanna Hogg at Artforum. * The all-American road trip. * On translating Raymond Roussel. * 11-year-old illustrates Infinite Jest using Lego. * Sean O’Hagan on Nick Cave. * The Paranoia Machine. * Scrapbooking. * Will Self talks about death (video). * Will Self: “I had planned to write Jaws without the shark”. * Shark reviewed. * Self on Orwell: “[A]ny insistence on a particular way of stating things is an ideological act, whether performed by George Orwell or the Ministry of Truth”. Will Self on the digital essay (audio). * Will Self and John Banville on Dubliners. * The battle for Ulysses. * Illustrating the impossible: Stephen Crowe. * Knausgaard, Lydia Davis, and Kraznahorkai on Bookworm. * Knausgaard on Ben Marcus (audio). * Knausgaard interview (video). * Arthur Symons‘s The Symbolist Movement in Literature. * Hugo Ball. * Tom Vague. * Hipster neighbourhoods. * Ten Parisian artists beyond the Périphérique. * On Leos Carax‘s Boy Meets Girl (1984). * Adrian West‘s superb piece on Edouard Levé. * Marie Laurencin. * In-flight science. * The fairy tale continues. * An interview with Paul Weller. * The cliché expert’s guide to the cinema by Gilbert Adair. * Richard Linklater‘s Boyhood. * Absolutely brilliant review of Boyhood by Peter Bradshaw: “In some ways, the movie invites us to see Mason from an estranged-dad’s-eye-view, alert to sudden little changes and leaps in height. As an unestranged dad myself, I scrutinised Coltrane at the beginning of each scene, fascinated and weirdly anxious to see if and how he’d grown. But the point is that all parents are estranged, continually and suddenly waking up to how their children are growing, progressively assuming the separateness and privacy of adulthood. Part of this film’s triumph is how it depicts the enigma of what Mason is thinking and feeling”. * Welcome again to the Pleasuredome. * DC punk history. * Would the real Francesca Woodman please stand up? * What kind of worker is a writer? * On paying writers.
Monoskop, the collaborative research platform for art history, culture and media technology, have recently published an expansive archive of over one hundred and fifty avant-garde and modernist magazines, all to enjoy online for free. Check them out here.
What is the relevance of avant-garde magazines printed on aging paper to a society which views the world in real time and through networked digital lenses? There are two common answers. Regardless of their age, the art they carry can be looked at anew since it is only its techniques that pale, and on the other hand, they provide us with a historical record of several generations of artists and writers. Although what strikes the eye first is a variety of their fabrics and of workings of the page, something estranged from the relentless linearity of digital bits and the UX of the glowing screen. Here, they also remind us that our lenses matter as well, their properties are variables.
3:AM Magazine’s SJ Fowler travels with his Enemies Project and other poets on a collaborative poetic voyage across Scotland, documented by Ross Sutherland.
The Enemies project: Auld Enemies was a transnational poetry collaboration where six poets worked in rolling paired to produce original works for readings across the breadth of Scotland and where in each event also featured numerous pairs of writers from the region, who also presented brand new poetry collaborations. Beginning on July 9th and finishing on July 27th, the project visited Dundee, Edinburgh, Glasgow, Aberdeen, Lerwick and Kirkwall, before a wrapping up in London. Auld Enemies was a groundbreaking exploration of contemporary Scottish poetics through the potential of collaboration.
I’m delighted to join 3:AM Magazine as fiction editor.
3:AM was the first place to publish a piece of my writing. At the time I was working from a visual art background and it was – appropriately – a cutup. The magazine is a special place not only for new writers, but for more established authors looking to experiment in ways they might not be able to elsewhere.
It’s difficult to define submission guidelines when one of the things I’ll be looking for is something I’ve never seen. There are sensibilities I know I’ll recognise, as soon as I read them. I’m interested in work that is experimental, playful, serious; in work that pays close attention to form, and language, always in support of what the work is; in intelligent work that wears its learning lightly: to paraphrase Beckett on Joyce, writing that is not [only] about something; it is that something itself.
Read the guidelines below, and…
A few practical guidelines:
* Most pieces I publish will be under 2,500 words. Your work could be a standalone piece, or an extract from a larger work. It may be a lot shorter than 2,500 words. It might not look like ‘fiction’ at all.
* All submissions must be in English and previously unpublished online.
* I’m very interested in writing in translation, if you’re happy to sort out the rights and permissions. Translations should be accompanied by a copy of the original text. If you submit a translation, or a piece previously published in print (see the point immediately above), you must be able to secure a statement of permission from the original publisher, and/or writer.
* I’ll try to give you a yes or no within a month of your submission.
* I’m happy with simultaneous submissions, but please email me immediately if you decide to publish your piece elsewhere.
* Please put your name and the work’s title in your filename, as well as at the head of your piece.
* Please send me a very brief bio/cv. I’m as likely to publish unpublished as published writers, but, if you have published before, I’m interested in what, and where.
* Fiction submissions will close at 3am on 3rd September 2014. They will reopen again later in the year.
illustrations by Stephen Crowe for Finnegans Wake