Best experimental writing anthology
But "alt-lit" no longer accurately describes any authorial tendency, no more than the mere fact of a musical release being orchestrated by an independent label tells you what type of music you're about to hear. This is the 4th edition of BAX, and we couldn' t be more excited to share this incredible volume with the world!
You can pre- order a copy now and should have it in hand by Thanksgiving.
That its early manifestations often do juxtapose sites of production and distribution is best explained, one supposes, by the fact that we're currently in the throes of the Program Era--a time when the academic discipline of creative writing encourages high schoolers, undergraduates, and graduate students, through its "workshop" pedagogy, to think of themselves as always-already in juxtapositive creative-performative public spaces.
Middletown: Wesleyan University Press.
Put simply, there are many who believe that to achieve the transcendent ambiguities for which metamodernism is known, one needs a modernist text and a postmodern reader. While some of the works in The YOLO Pages still try far too hard to please, and still do too little to displace readers' expectations regarding non-consequential Internet-fueled zaniness, there is more than enough genius evident here to say that this anthology single-handedly heralds a new age in contemporary American literature. All submitted books remain eligible for inclusion in the series for a ten-year period. A metamodern poem tends to raise, as one of its primary lines of inquiry, "Is this for real? This inclination among contemporary readers--to rescue otherwise "bad" writing by presuming it to have some ulterior motive beyond optimism, naivete, and sincerity--is a postmodern one, though the effect it finally produces, an ambiguity of affect and tone and intent, is entirely metamodern. Bax best american experimental writing. BAX is the second volume of an annual literary anthology compiling the best experimental writing in poetry, fiction, and creative nonfiction. While he himself ultimately deemed the experiment a failure, it's worth noting that Roggenbuck begins The YOLO Pages with evidence of a similarly High Modern inclination, albeit one infused with populist rhetoric: an epigraph from James Baldwin that reads, in part, "[T]he poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen Scholars may fight over intellectual ownership of the difficult literary work being done in The YOLO Pages, but readers, as ever, will be the final arbiters of whether this anthology is the last gasp of one generation or the first joyful shriek of another. Indeed, if there is a variation in the metamodern quality of the texts in The YOLO Pages, it is that we find some of the older authors featured therein attempting to perform metamodernism through the lens of postmodernism--that is, in works that are still self-consciously coy, ironic, and deconstructive of meaning, affect, and ego--whereas in the Generation Y authors of The YOLO Pages we're more likely to see authentic metamodernists and metamodernism at work. You can pre- order a copy now and should have it in hand by Thanksgiving. Publishers and poets interested in submitting review copies to either this series or the Best American Experimental Writing series can contact the author of this article using this form. But with postmodernism at the end of its period of dominance, there's a hope among postmodernists that the most exciting literary phenomenon in America today--one embraced by no less august persons than James Franco, Shia LaBeouf, Wes Anderson, and Stephen Colbert--can somehow become a lifeline for drowning avant-gardistes.
Autonomous metamodernism is less likely to rely chiefly upon humor or the absurd, though in fairness it's often both absurd and humorous; it's also less likely to be as focused as the works of The YOLO Pages are on marketing themselves to an audience--as juxtaposing sites of production and distribution makes it more difficult for authors to create works that shock, offend, or challenge readers.
And how can we possibly ask any anthology to do more than this?
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This edition of the series considers just one text, a recently released anthology of metamodern literature that is undoubtedly the first of its kind. Already, some of the "alt-lit" authors of The YOLO Pages are planning leaps to the big New York City trade presses, whose interest in marketing has historically well outstripped their interest in Art, some notable exceptions notwithstanding. A full list of books reviewed and a partial list of titles held can be found here. Click on the links below to view the work of each author. The first-person singular is disallowed, as are any indicia of "self-expression. While the unbridled optimism about what a single author can accomplish that illuminates every page of The YOLO Pages would ring bells for any High Modernist--and alarm bells for any uncompromising postmodernist--we can term nearly everything in The YOLO Pages "metamodern" because it requires both High Modernist authorial inclinations and a skeptical postmodern eye to enact its many delights. A n annual anthology of the best new experimental writing. What these so-called "conceptual" projects have in common is their desire to destroy the hegemony of affect and ego in contemporary literature, and, moreover, the author-figure as a celebrity uniquely qualified to acquire an audience. It would be unfortunate if readers of The YOLO Pages believed, on this evidence, that metamodern literature is dependent on the generosity or lack thereof, given postmodern cynicism of readers. For additional information about this book. It's worth looking at some excerpts from The YOLO Pages to see how all of this plays out; first, however, one needs to have a sense of where postmodern lit is at right now.
Put simply, there are many who believe that to achieve the transcendent ambiguities for which metamodernism is known, one needs a modernist text and a postmodern reader. Free delivery on qualified orders.
This edition of the series considers just one text, a recently released anthology of metamodern literature that is undoubtedly the first of its kind.
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