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The flagship issue fêtes Christine Brooke-Rose, one of the most innovative voices of the twentieth century, whose fiction plays challenging games with form and structure, using grammatical constraints, multiple languages, and a dicing of genre styles and theoretical discourses as an integral component of her novels. Brooke-Rose is among an unfortunate revue of writers whose work is fading out of print, rarely part of critical or academic discussion. This 320-page issue contains creative and critical responses to her fiction, theory, and criticism, written with an eye to the general literary reader unfamiliar with her output, but with enough homage, parody, imitation, and analysis to excite her devoted fan base.
A festschrift, as defined by Merriam-Webster online, is "a volume of writings by different authors presented as a tribute or memorial especially to a scholar." The writer feted in the Verbivoracious flagship festschrift was a scholar who also happened to be one of the most innovative writers of the 20th century (and certainly for the first decade of the 21st century). This collection contains essays, homages, and stories inspired by the work of Christine Brooke-Rose, arranged in the publication order of her books, commencing with the poem Gold (reprinted for the first time here), and concluding with Life, End of. The writers featured are an eclectic mix1 of critics, storytellers, ardent readers, academics, pasticheurs, homageurs, and people coerced to read the works of Christine Brooke-Rose for the sole purpose of contributing to this festschrift. Those not yet acquainted with her work should find sufficient entry points to her varying, often complex, sometimes cryptic, always playful, methods. Unswerving converts to her constraints will find many rapturous moments in the numerous flawlessly executed fictions included."
A brilliant and overlooked amalgam of highbrow genius and contemporary pop culture, Gilbert Adair is a pasticheur par excellence and the subject of the Verbivoracious Festschrift Volume Two. Contains a savoury range of pastiches, essays, and Adair's previously unpublished verse poem parody, The Rape of the Cock.
A monument to our insatiable verbivoracity, The Syllabus is an act of humble genuflection before the authors responsible for those texts which have transported us to the peak of readerly nirvana and back. The texts featured, chosen in a rapturous frenzy by editors and contributors alike, represent a broad sweep of the most important exploratory fiction written in the last hundred years (and beyond). Featuring 100 texts from (fewer than) 100 contributors, The Syllabus is a form of religious creed, and should be read primarily as a holy manual from which the reader draws inspiration and hope, helping to shape their intellectual and moral life with greater awareness, and lead them towards those works that offer deep spiritual succour while surviving on a merciless and unkind planet. Readers of this festschrift should expect nothing less than an incontrovertible conversion from reader to insatiable verbivore in 225 pages. "The Syllabus, as a third volume of Verbivoracious Festschrift, is a celebration of reading. It's a great literary feast for the true readers, for all the verbivores around the world, a feast consisting of hundred delicious meals. I am honored to be a part of that unforgettable menu." - Dubravka Ugre i ."
Rikki Ducornet is a magical surrealist, postmodern fabulist, multi-talented artist and poet, and author of several novels ripe with epicurean vocabulary, vivid and outrageous imagery, fantastically arcane trivia and erudition, and Rabelaisian re-imaginings of history, among them the Carteresque hellfire of The Stain, the Lewis Carroll homage and wonder-of-wonders The Jade Cabinet, and the beautiful, slowly unfurling heart-attack, Netsuke. Across her career, spanning four decades, Ducornet has pursued her inexhaustible obsession with Eros, the violence of the Marquis de Sade and other monsters, and the enchantment of the wunderkammern. The fourth VP festschrift, including critical essays, personal memoirs, fiction homages, and two in-depth interviews, explores Ducornet's passions and obsessions, with particular attention to her novels, illuminating the unforgettable work of a "linguistically explosive" author whose "vocabulary sweats with a kind of lyrical heat" (NY Times). CONTRIBUTORS: Forrest Aguirre, Ricco Barbels, Mary Caponegro, Robert Coover, Rikki Ducornet, Tammy Dasti, Michael J. Emmons, Brian Evenson, Allan Guttmann, Randall Heath, Lily Hoang, Joanna Howard, Laird Hunt, Carolyn Kuebler, Nadine Mainold, Steven Moore, Warren Motte, Tod Rise, Michelle Ryan-Sautour, Eleni Sikelianos, Raymond L. Williams, and Igo Wodan. "For those who know her, Rikki Ducornet's very name signifies enchantment and her works induce a state of rapture." -- Michael Silverblatt, KCRW Bookworm "The Complete Butcher's Tales is one of my all-time favorite books, but I love Rikki Ducornet's entire body of work. This festschrift, this wonderful book, is above all a place to think about Rikki -- to shine a bright, grateful light on her Vision. The contributors have done a miraculous job celebrating the work of an unspeakably beautiful, significant artist, thinker, and friend." --Kate Bernheimer, author of Horse, Flower, Bird
This book is about Raymond Federman and his incredible textual obsession with Samuel Beckett. Federman was a scholar of Beckett, postmodern theorist, a self-translator and avant-garde novelist. Born in Paris in 1928, all of his immediate family perished in the Holocaust. Federman escaped thanks to his mother, who hid him in a closet. After the war, he migrated to America and devoted his life to scholarship and creative writing. In both, he devoted his life to Beckett. Federman’s creative and theoretical writings contaminate and pervert each other just as, in his novels, French contaminates English and fiction perverts reality. His work is centered on the details of his survival, enacting a perpetual return to the closet, as previous studies have demonstrated. By examining Beckettian (and by extension Joycean) intertextuality in the novels of Raymond Federman, this study traces the contours of a second closet.
The second issue of the B.S. Johnson Journal: 'The issue with materiality', featuring essays, interviews, peer-reviewed academic papers and creative pieces inspired by the British writer, with contributions from Melanie Seddon, Romen Reyes-Peschl, David Hucklesby, Joseph Darlington, Andrew Motion, Denisa Hobbs, Michael Pennie, Richard Russell, Gemma O'Connell, Simon Dawes, Richard Leigh Harris, Hannah Van Hove, Stephanie Jones, Mark Yates"
Surrealist women’s writing: A critical exploration is the first sustained critical inquiry into the writing of women associated with surrealism. Featuring original essays by leading scholars of surrealism, the volume demonstrates the extent and the historical, linguistic, and culturally contextual breadth of this writing. It also highlights how the specifically surrealist poetics and politics of these writers’ work intersect with and contribute to contemporary debates on, for example, gender, sexuality, subjectivity, otherness, anthropocentrism, and the environment. Drawing on a variety of innovative theoretical approaches, the essays in the volume focus on the writing of numerous women surrealists, many of whom have hitherto mainly been known for their visual rather than their literary production. These include Claude Cahun, Leonora Carrington, Kay Sage, Colette Peignot, Suzanne Césaire, Unica Zürn, Ithell Colquhoun, Leonor Fini, Dorothea Tanning, and Rikki Ducornet.
The fifth issue fEtes tireless innovator in fiction and poetry, renowned Beckett scholar, relentless self-mythologiser, impish postmodern theorist, riotous humorist, playful pedagogue, friend and father Raymond Federman, with contributions from Jerome Klinkowitz, Jeffrey R. Di Leo, Jacob Paul, Douglas Messerli, Larry McCaffery, Julia Frey, Geoffrey Gatza, Ted Pelton, Simone Federman, Steve Katz, Serpil Opperman, G.N. Forester, Eckhart Gerdes, Doug Rice, plus exclusive fictions from the Federman archives, including several from an abandoned volume of abandoned fictions. "Only a century as excruciating as the twentieth could have produced a voice like Raymond Federman's - a voice in a closet, hailing us all with scurrilous laughter and absurd wisdom. This volume in celebration of Hombre de la Pluma samples that voice, and echoes with the voices of some of those who resonated to it. It's all a pack of lies and, of course, all perfectly true." -- Brian McHale, author of Postmodernist Fiction "A feast for Fed-heads and a great introduction for newcomers, this lavish volume is an appropriately irreverent, loving, and off-the-wall celebration of one of the most important writers of post-war American fiction. Yeah, really. Time to reappraise, critics. And for the rest of you guys, time to dive back in. Federman lives " -- Scott Black, author of Of Essays and Reading in Early Modern Britain