Category Archives: Alex Smith
Amy was recently awarded a NYFA fellowship for her outstanding contributions to the world of poesy. Check it.
Also, check out a recent Nathan Austin coup here.
Also, Alex Smith’s story, “The Model of a Boy” appears in the current issue of Theaker’s Quarterly Fiction. Downloadable, FREE, here.
Go Black Maze Books contributors!!
Alex Smith’s super hush-hush poetry project BLOWN, which is the third installment in his absurdist series Prinny Matteeres, is now being made known: The manuscript is finished (some of it was published by FOOD I CORP and CATCHUP LOUISVILLE). It is to be published by Superchief Publishing in a few months. It will have a cover that looks something like this:
And it will be just a few sweet pages long, and free to download as an ebook. Alex’s following book is an untitled collection of stories for release in 2013. It is imminent but we know it will take Alex and Superchief a long time get it out, right–because Alex is working full-time on his doctorate right now.
Apple unveils the leaner, meaner, freshly stocked with Random House titles, iPad 2 set to ship on March 11th.
Also in the news, Open City, where our publisher Alex Smith interned back in the 90’s, is ceasing publication at the end of the month. NY Observer. Open City Books, whose backlist includes David Berman’s collection Actual Air and Sam Lipsyte’s short stories Venus Drive, will keep-on keeping-on.
[I edited this for content.]
I visited Brian Bolland ‘s website a bit ago, and found this open letter to the French collage artist Erro. Here’s a quote:
What this is is a kind of colonialism. You, Erró, have found a place for yourself in the land of the Fine Art Elite, in “Gallery-land”, and you have gone out and discovered a dark continent inhabited by pygmies – barely more than savages really – people with a colourful but primitive culture. Like the Victorian explorers you find what they do ghastly but somehow alluring so you steal from them, give them nothing in return and dismiss them. You display bits of their infantile and garish nonsense in what you call a “synthesis” on a gallery wall in the civilised world, something which has nothing whatsoever to do with giving a full and accurate “report” on the stuff you steal or the people you steal it from. It’s more to do with the titillation of your peers. You’d like them to be shocked by the vulgarity of the artefacts you’re bringing back from whatever nasty place you’ve been to but appreciate them (and you, of course) in that post-modern kind of way. One reviewer of your work said “I don’t know where Erró finds all that stuff”. Luckily for you she and other inhabitants of the galleries don’t know the names of the people you steal from and you’re not in a hurry to list them. You’re exploiting people like me, not because you’re a “witness to our time” but because you want to turn the base metal of comics into art gold – and you’d like to have a lucrative career in Gallery-land.