Columns

Half a Trad, A Literary Nag: Another Dunk Queen Bigger than Her Pic Wifes-Up the Agencies – Sean Kilpatrick

We once went to bed with our instincts intact. Now David Riesman’s other-directed go-getters are on the job reprimanding inward-directed submissives in the name of expressive specificity (“lucidly indifferent” boarding schoolers desire morally chic stakes, à la quality TV). Lewis Yablonsky’s image-driven robopath super-conformists (X – “regimented platitudes on a meaningless dead stage”) of the megamachine have zapped the sprezzatura from verse libre, lasered the latest prose of fustian meringue,

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Columns

Gwenace II Society

MM) This book is in many ways Gwen Hilton full frontal, full disclosure. In a sense, Where the Breastplate Meets the Blade is an unpacking of the hallucinatory Sent to the Silkworm House through candid romantic and sexual history and angular mnemonic stabs. Rather than charting your evolution as a stylist, I’m wondering if your instinct to open up more and become more public-facing in general has to do with stepping outside of your comfort zone,

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Columns

Ted III- Ted’s Revenge: Prokash Unchained

MM) A Club for Gentlemen strikes me as a deep pandemic novel, that is, it feels to have been written largely in the bleak, interminable isolation of lockdowns, like a glimmer of a ray of hope from the deep recesses of your imagination. It is capricious, digressive, and possibly your longest book? Tell the readers how it came about and what it’s about. In your words.

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Columns

Interview with David Bingham

MM) Yellow Switch Palace is a lot of things. It is somewhat grandiose science fiction. It is K-Mart realism/alt lit. It’s a collegiate bildungsroman. A kind of hallucinatory love story. What first spurred the idea, and could you unpack your process of writing and editing it? I can infer you’ve been writing it for at least as long as 2019, when Gloria Vanderbilt, who is offhandedly mentioned, was still alive.

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