At Adobe Books, 5/22, for The Racket reading series

I’m part of a fine, fine group of people reading at San Francisco’s Adobe Books for Noah Sanders’ reading series, The Racket.

I see too that — other than the fact we’re from the Bay Area — a bunch of us were published recently in Joyland. (My story, “We Were Professionals,” was published in February.)

  • Tom Pyun [readers may remember his piece from The Rumpus last year]
  • Jenny Xie [whose work I’ve admired for some time — here’s “If You’re Reading This,” from Devil’s Lake]
  • Hugh Behm-Steinberg [some readers (I do!) might recall his prize-winning story “Taylor Swift“]
  • Maurisa Thompson [here she reads a poem at LibroTraficante]
  • Heather Marléne Zadig [read her story, “Vivisection,” in Joyland — so creepy]
  • Benito Vergara [that’s me!]

The topic for the reading is war, so this’ll be the first time I get to read from my novel-length work in progress about this Filipino guerrilla leader and his soldiers during the Philippine-American War.

Some Notes on Eley Williams’ Attrib. and Other Stories.

I held my breath while I read these stories. Eley Williams’ Attrib. and Other Stories leaves you stunned, or speechless, or rather, stunned into speech. Whatever the inverse or obverse may be — the reading experience fills your head with the wordiness of words, their meanings slipping and skittering off into the corners, and you’re left pondering how the consonants tasted.

Some stories are sketches, with characters turning words over in their heads, gauging their mouthfeel, drawing them out into the light. To me it seems an apt image for what Williams does: promiscuously mixing metaphors, delightfully stress-testing words, to see if they break or bend. Like damming a river to watch it spill and what if it did.

In some pieces the narrative, all paragraphed and indented proper, breaks into line breaks without telegraphing the reader. (Things I prefer neat: bookshelves, whiskey, the border between poetry and prose except for prose poems, which makes no sense but I am irrationally biased that way.)

And yet “Alight at the Next,” to select just one example, is one of my favorites because I read these breakouts into poetry as some sort of controlled irrepressibility, reflecting “the whole cadence of my composed speech set to work in time with the slowing of the Tube train,” as the narrator thinks.

All throughout is a veritable Joycean eruption, one flowing over our own hyperactive modernity: puns, slips of the tongue, hesitations, and an obsessive untrammeling and unbuckling of words and sentences and even (in “The Alphabet”) the letters themselves, their loops and serifs. Even in the more conventional stories, song lyrics derail the trains of thought; hedgehogs float in a backyard pool like punctuation marks.

It all feels messy and a little out of control and you think the writer has lost the plot until you realize you have been glamored by the grammar, fooled by “the tricksiness of language,” as it says on the tin; this is masterful shit, wiry and high-wire, this is serious serious play.

Some Notes on Alan Moore’s “Jerusalem.”

Three-quarters of the way into Alan Moore’s 1,266-page novel Jerusalem, where Moore unveils his Grand Theory of Life, Death, Time, the Universe, and the History of Albion, and I just don’t know what else Moore can do to top this. Moore’s place in the literary canon (notice I didn’t write “graphic novel canon”) is, for me, unassailable, but a book like Watchmen only hints at the sheer intellectual excess and ambition of Jerusalem. From Hell (my favorite), Promethea, and Voice of the Fire, Jerusalem’s clearest predecessor, come the closest.

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A Few of My Favorite Things, 2015 Edition

I’ll start with a downer: 2015 was an awful, miserable beast of a year, and bidding it good riddance and wishing for a better 2016 kind of strikes me as perverse magical thinking. Bad luck, human caprice, and institutional corruption and racism don’t really obey the artificial thresholds of calendar years.

But nonetheless the end of a year provides a time for reflection. There were good and beautiful things too. But some of these bright spots in a dark year are below.

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