Good news! Salt Hill: 47 is now available! It features “Blues for Borinquén,” an experimental fiction of mine that foregrounds two Puerto Ricans in the middle of Hurricane María, the first in the storm’s eye, the other in its mediation and aftermath. The fiction is full of black holes—call them shrouds, caesuras, portals, thresholds.
I wrote this fiction in response to another journal’s call for fictions about “mutants” and “castaways,” so of course it features Puerto Ricans, we hybrids, fusions, and reified hyphens, we who are largely invisibilized in literature, not to mention culture as a whole, mainstream and otherwise.
Big thanks to editor Si Yon Kim and the rest of the Salt Hill team!
Delighted to recently receive my contributor’s copies of Contrapuntos IX: Antropoceno, which features two of my poems (“‘The Science of Storytelling'” and “Two Spaces After a Period”), which limn the liminality, precarity, and atomization of life in/within the Capitalocene-of-the-crime, the poems also featuring a host of ghosts, among them John Coltrane, Miles Davis, Bill Evans, Matisse, Virgil, Caravaggio, and Monteverdi.
Big thanks to editors Lacie Cunningham and Marcos Pico Rentería!
Delighted to share Brendan Lorber’s interview with me in Maudlin House about my tenure editing and publishing Big Other.
Lorber: What is good writing?
Madera: What we talk about when we’re talking about literary writing, though, is love, that is, the art of writing is an eros of writing. And by “eros,” I mean, not only life-affirming and revivifying but life itself. Also, how long would you endure a lover who always said not only the expected, but the hackneyed, whose utterances were full of overused words, phrases, and sentences, a lover whose gestures were rehearsed and mechanically performed? And yet, and yet, this is what we so often accept from artists, literary and otherwise. In other words, always refuse the thanatos of writing, of art, generally; and always pursue, affirm, and propagate the eros of art, literary and otherwise.
Delighted to have “When Seeing Isn’t Looking Isn’t Believing” published in The Tunnel at 25, a symposium engaging William H. Gass’s The Tunnel on the occasion of the twenty-fifth anniversary of its publication. It features work by Joy Williams, David Auerbach, Steven G. Kellman, and others.
My contribution is a fiction told from the perspective of Martha Kohler, the novel’s anti-hero’s wife, who apostrophizes her late husband from the hospital bed where she fights for her life against a certain virus coursing through her.
Thanks, Ted Morrissey for the invitation and publication!