Tag Archives: Robert Coover

New Fiction Published!

conj68a.jpgHappy to share that “The House That Jack Built,” a new fiction of mine, appears in Conjunctions:68, Inside Out: Architectures of Experience, alongside work by Robert Coover, Joyce Carol Oates, Lance Olsen, Nathaniel Mackey, Susan Daitch, Frederic Tuten, Joanna Scott, Andrew Mossin, Claude Simon, Louis Cancelmi, Cole Swensen, Robert Clark, Kathryn Davis, Elizabeth Robinson, Gabriel Blackwell, Monica Datta, Robert Kelly, Mary South, Brandon Hobson, Ryan Call, Ann Lauterbach, Can Xue, Karen Gernant, Chen Zeping, Matt Reeck, Lisa Horiuchi, Elaine Equi, G. C. Waldrep, Lawrence Lenhart, Mark Irwin, Justin Noga, Karen Hays, and Karen Heuler.

 

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New Fiction in Conjunctions:60, In Absentia!

conj60bOne of my fictions, “Suspension as a Unit of Experience; or, What She Remembered of the Vanishing Lines,” has just been published in Conjunctions:60, In Absentia.

Happy to have some of my fiction alongside work by Joyce Carol Oates, Robert Coover, Brian Evenson, Robert Olen Butler, Miranda Mellis, Joanna Ruocco, Stephen O’Connor, J. W. McCormack, Gabriel Blackwell, Matt Bell, Benjamin Hale, Kim Chinquee, Julia Elliott, Carole Maso, Charles Bernstein, Robert Walser, and others.

Thanks, Bradford Morrow and everyone at Conjunctions!

New Fiction Forthcoming!

conj60a-1Great news! One of my fictions, “Suspension as a Unit of Experience; or, What She Remembered of the Vanishing Lines,” will appear in Conjunctions:60, In Absentia, alongside work by Matt Bell, Robert Walser, J. W. McCormack, Kim Chinquee, Gabriel Blackwell, Carole Maso, Can Xue, Robert Coover, Stephen O’Connor, Joanna Ruocco, Samuel R. Delany, Benjamin Hale, Ben Marcus, Elizabeth Hand, and many others.

Thanks, Bradford Morrow and everyone at Conjunctions!

My Review of Robert Coover’s Noir

My review of Robert Coover’s Noir is in the May, 2010 issue of the Brooklyn Rail. Here’s an excerpt:

Rendered in a tone full of deadpan humor and crepuscular musings, Noir has a lot to admire: a walking punching bag who, though seemingly down for the count, manages to beat the countdown time and again; brilliantly drawn sequences like the grisly “Case of the Severed Hand” (perhaps Coover’s offhand tribute to the phantom hand in Rilke’s The Notebooks of Malte Laurids Brigge, or simply a nod to the legendary Arthur Howard fraud case); a masterful juggling of jokes, violence, and mystery; weird Lynchian punctures of the veil between dreams and waking life, where, echoing Noir, I can’t always “be sure what was real and what wasn’t, though in a sense it was all real, because even if I was only imagining it, it was still real, at least in my own mind, the only one I’ve got”; and, as expected of Coover—one of a dying breed of virtuosic stylists—a knowing revivifying of genre tropes.

Thanks, John Reed and Meghan Roe.