#occupyculture - in which I kick Santa in the balls

"Kicking Santa in the Balls: An interview with the Boston Book Festival’s Literary Squatter" is now live at the Boston Phoenix website and on page 6 of this week's print edition. Many thanks to Eugenia Williamson.

#occupyculture (or, the "One City One Story" Counterfeit)

(link)

UPDATED!

My editor, Micah Robbins, was surprised to read in the Boston Book Festival's statement that I was "unpublished" and "unpublishable," so he kindly wrote a response and submitted it as a Comment to the BBF blog post. The BBF declined to publish the comment, demonstrating conclusively that behind the lie of a citywide conversation they are interested only in one-way communication. But what else could we expect from an organization whose corporate sponsors include Verizon, Bank of America, Target, and three of the "Big Six" media conglomerates that currently monopolize publishing? They and their ilk determine what is "acceptable discourse" -- silence and invisibility for the rest. So, along with my thanks, I am reprinting Micah Robbins' comment here:

I would remind you that many of our greatest writers, from James Joyce to Thomas Pynchon, have been accused of publishing "unreadable" prose fiction. "The Cruiser" is, of course, neither unreadable nor unpublishable. I've read the story & have agreed to publish it and the novel to which it belongs -- Human Wishes / Enemy Combatant -- under the imprint SAY IT WITH STONES. It's odd you would say it's "unpublishable" since Caldwell's author's bio clearly states that the novel is forthcoming from SAY IT WITH STONES. Human Wishes / Enemy Combatant will be released later this year; for more information, visit sayitwithstones.com.

I respect Edmond Caldwell's action against the sociopolitical homogeneity being celebrated by One City, One Story. & I'm pleased to hear his work has the power to upset readers' expectations. I'm sure he wouldn't have it any other way! What American literature needs is more resistant work, not affirmative bourgeois drivel like "The Whore's Child," which is -- exempting its title -- a total bore.

Finally, the tone of your announcement is commensurate with the reactionary cultural politics of One City, One Story. A recent study conducted by the United Nations found that over a billion people squat worldwide -- a sixth of the global population, the vast majority of whom are Asian, African, and Latin American -- and the numbers are increasing exponentially. To disparage Caldwell as a "literary squatter" reveals the mistaken aura of cultural superiority that undergirds One City, One Story. Only an institution fundamentally committed to and enchanted by western values, particularly private property in its many manifestations, could draw such a problematic comparison.

My only concern is that there aren't more Boston writers engaging in acts of cultural insurgency. Wouldn't it be a delight if every copy of Once City, One Story contained the work of a different author, none of whom were "approved" by the institutional power of BBF!

Long live cultural insurgency!

UPDATE 2:

And a thousand thanks to Kent Johnson for these words of support, which enjoyed the same fate at the Boston Book Festival blog as Micah's comment:

"Unreadable!" Well, anything that comes with that recommendation makes me want to read and see... There's a nice ancestral line, isn't there, of works that had that epithet thrown at them.

What's the Boston Book Fair in such a snit about? Because someone put Richard Russo's cover on his limited run, fine-press book? Horrors! The bourgeoisie, as they used to say, should be scandalized. Here's a suggestion: Take a page from the Poetry Foundation and Call the Cops! (Anyone in the fiction world following that fracas?)

I haven't read this Unreadable novel, but now I certainly will. I hope I can get a copy with the Russo cover, signed by both Russo and the fictional "squatter" Caldwell. What's on the cover? Is it really slick and pretty?

Kent Johnson

New Work at A-Minor

I'm very pleased to have two new pieces of flash fiction, "The Lord Will Provide" and "Foxy Lady," featured at the revamped A-Minor Magazine website, now under the revivifying curatorship of writer-editor Nicolette Wong. Please visit and be vivified.

New Work in kadar koli 6

"...as if at the very birth of language itself (the legendary Naming of Beasts) prepositions had to be invented next to account for the absolute everywhereness of the animals, maybe even before verbs..."

I got a prose thing, "Grandma's Box," in the latest issue of kadar koli, in the brilliant company of Zack Finch, Geoffrey Gatza, j/j hastain, Henri Deluy (trans. Jacqueline Kari), Micah Robbins, The Rejection Group, Sarah Jeanne Peters, Josh Stanley, John Hyland, Robin F. Brox, Brenda Iijima, and Morani Kornberg-Weiss.

And while you're there, check out the other Habenicht Press offerings, the beautifully-produced chapbooks and earlier issues of kadar koli.

New Work in SOUS LES PAVÉS

»SOUS LES PAVÉS« no. 4 is now live and includes my essay, "A Tale of Two Cultural Centers (Istanbul, November 2010)." I'm proud to be in there alongside the outstanding contributions of:

Brooks Johnson
Rodrigo Toscano
Emily Critchley
William Fuller
Linh Dinh
Roberto Harrison
John Beer
Tyrone Williams
Tim Atkins
j/j hastain
Jerome Rothenberg
Hoa Nguyen
Mary Burger
Sotere Torregian
The Rejection Group
Brenda Iijima
Micah Robbins
Frances Kruk
Warren Craghead

»SOUS LES PAVÉS« is a quarterly zine distributed by mailing list only & supported by the generous donations of its readers. If you receive/read this publication and find it of some value or interest, please consider donating some small funds to its continued effort to produce and distribute an unvarnished, politically efficacious magazine of poetry & ideation.

Get on the mailing list & donate

Anti-Epiphany

What follows is a strange, nameless state, in which the present, which is as wide as the whole of time is long, seems to have risen, from who knows where, to the surface of who knows what, and in which what I was, which in and of itself in no way amounted to much, now knows that it is here, in the present, knows it, without being able however to pursue its knowledge any farther and without having sought, in the fraction of a second prior to that state, by any means whatsoever, to catch a glimpse of it. This state is going away now; and now, in the darkness, the sounds, the murmurs, the chorus of cicadas, the barking of a dog at the other end of town, begin, gradually, to come unbound from each other, to separate, building up, out of the black, compact mass of night, levels, dimension, heights, various distances, a structure of sounds that produce, in the uniform blackness, a precarious, fragile space, whose distribution in the blackness continuously changes shape, duration, and one might even say, to put it into words somehow, place. But now it is gone: it is as if an errant wave, a phosphorescent image of many colors combined in a harmonious way, had been reflected, on passing, for a few instants, through me, and had then continued on its way, leaving me in that other firmer, more permanent state, in which everything is within reach of my fingertips, with the same accessibility as a ship inside a bottle.

— Juan José Saer, from Nobody Nothing Never (Serpent’s Tail, 1993), translated by Helen Lane.

Writing Against the Market

In “How, and How Not, to Be a Published Novelist: The Case of Raymond Federman,” Ted Pelton reviews Federman’s publishing career. His contribution asks why a writer that is internationally regarded and has several major awards including the American Book Award “has never had a book published by a major U.S. imprint.” Pelton maintains that while Federman had a number of opportunities to publish with major U.S. publishers—for example, St. Martin’s Press was interested in Smiles on Washington Square (Thunder’s Mouth Press, 1985) and Little, Brown, & Company was interested in Double or Nothing (Swallow Press, 1971)—the author chose not to publish with these major publishers. For Federman, the decision to publish with small presses (rather than major presses) was based on the author’s decision to maintain his aesthetic integrity, rather than to make concessions to the market-driven editorial suggestions made by the major U.S. publishers that approached him. Pelton observes that though a few of Federman’s peers had books published with major U.S. publishers, this was the exception, rather than the rule.

Pelton points out that in the case of Double or Nothing as well as other works, Federman “made the decision to rework his own manuscript precisely against marketplace feedback.” In this regard, Federman’s publishing career “serves as a unique measure of the nonparticipation of American publishing in innovative American fi ction.” Pelton maintains that the task of publishers should be to support the work of writers like Federman “whose texts bring us new understandings of what constitutes the art form”—not to dictate to them what they should write based on economic motives. Federman’s “refusal to write straight narrative,” suggests Pelton, against the wishes of major American publishers, provides us with “perhaps the most notable case in our time of the writer who growled at his purported master and, by doing so, became his own.”

_________________________

Emphasis mine. From "Other Voices: The Fiction of Raymond Federman," Jeffrey R. Di Leo's introduction (pdf) to Federman's Fictions: Innovation, Theory, and the Holocaust (SUNY UP, 2011).

Raymond Federman site.

Ted Pelton page.