Sponsorship deal announced (link)
Hurumako Hatoiti
Friday, August 22, 2008
Tuesday, July 08, 2008
here come the judge
Announcement
Rana Dasgupta has agreed to adjudicate the forthcoming Willesden Herald short story competition.
Brender Muhlbadoon
Rana Dasgupta has agreed to adjudicate the forthcoming Willesden Herald short story competition.
Brender Muhlbadoon
Monday, June 09, 2008
Friend of a friend
whiskey river
click above for quote from Joanne Kyger.
2 poems by Joanne Kyger in "last night's dream corrected".
haven't eaten for 3 days. (Smedley)
click above for quote from Joanne Kyger.
2 poems by Joanne Kyger in "last night's dream corrected".
haven't eaten for 3 days. (Smedley)
Thursday, March 27, 2008
Mentioned in dispatches
the short review: interview
"And an anthology from The Willesden Herald – New Short Stories 1. There’s quite a variety in that – it contains what my contemporaries are writing, and I love the up-to-dateness of anthologies and lit mags for just that reason." (Nuala Ní Chonchúir)
Winton Pookie
"And an anthology from The Willesden Herald – New Short Stories 1. There’s quite a variety in that – it contains what my contemporaries are writing, and I love the up-to-dateness of anthologies and lit mags for just that reason." (Nuala Ní Chonchúir)
Winton Pookie
Thursday, February 14, 2008
we'll be there to save the day
pretend genius will be at the small press book fair (apr. 19) that is part of the big bethesda literary bullshit festival located at the tony bethesda address of 4508 walsh st. in the washington d.c. area.
we're sending two of our finest:
j. tyler blue
and
sean?
because we care.
because we dare.
because we stare.
because we mare.
because we gare.
because we zare.
pretend genius.
because we rare.
we're sending two of our finest:
j. tyler blue
and
sean?
because we care.
because we dare.
because we stare.
because we mare.
because we gare.
because we zare.
pretend genius.
because we rare.
Sunday, February 10, 2008
Saturday, February 09, 2008
In the words of Butch, or was it Sundance...
The Atlantic: "a very Zadie contest"
The Daily Telegraph: "Author Zadie Smith attacks literary prizes"
The Sunday Times: "Zadie Smith sinks teeth into book awards"
The Telegraph - Endpaper: "A true literary car crash over at the Willesden Herald" Guardian Books: "When should a books jury remain out?"
LA Times Jacketcopy: "Be careful what you wish for"
Save the Short Story: "Let’s Save the Willesden Herald Short Story Prize"
Bookninja: "When no one is good enough"
Ward Six: "We're not worthy"
The Stranger (Seattle): "Another reason to love her"
Bookbrowse: Book prizes only "nominally about literature"
Shameless Words: A Warning About Blog Comments
Britannica Blog: Should Literary Prizes Reward Mediocrity?
—who are these guys?
The Daily Telegraph: "Author Zadie Smith attacks literary prizes"
The Sunday Times: "Zadie Smith sinks teeth into book awards"
The Telegraph - Endpaper: "A true literary car crash over at the Willesden Herald" Guardian Books: "When should a books jury remain out?"
LA Times Jacketcopy: "Be careful what you wish for"
Save the Short Story: "Let’s Save the Willesden Herald Short Story Prize"
Bookninja: "When no one is good enough"
Ward Six: "We're not worthy"
The Stranger (Seattle): "Another reason to love her"
Bookbrowse: Book prizes only "nominally about literature"
Shameless Words: A Warning About Blog Comments
Britannica Blog: Should Literary Prizes Reward Mediocrity?
—who are these guys?
Friday, February 08, 2008
a statement from pretend genius about willesden herald short story contest 2008
dear readers of this exceptional piece of internet space,
i'd like to have a word with some of you so-called writers. a fireside chat, if you will, on why the various entries that i, in my dead state, did read and why they were not up to—yes, you know the word. i re-translated my thoughts from english and put them here to you in order to effectively communicate what makes gooder writing with the hope that you all will understand why we (pretend genius) agreed with the judgement of the judger of this contest.
the dramatic judgment and the ensuing humanicus dumbassicus vitriolicus (yes, i speak portuguese) that followed has inspired me (dead henry) to issue forth observations on gooder writing. i (still dead henry) have from time to time been known to offer something or other to those who seek it. not all of this something or other is understandable, however, and based on the cloistered nature of the human brain (meaning yours) this is not surprising. but due to my philoprogenitive nature i shall rise above the tendency of most 'writers' to horde and shall therefore generously particularize the monads of gooder writing for you in this introduction in the hopes that you will accept the judgement and move on with your so-called lives.
i. addressing the fundamental flaws in your approach
- the notion that gooder writing can be learned is false.
- the notion that reading can help you become a gooder writer is false.
- the notion that 'workshopping' can make you a gooder writer is false.
- the notion that feelings (suffering, love, happiness, grief, the 'heart') is the birthplace of gooder writing is false.
- the notion that the telling of a good story comprises gooder writing is false.
- the notion that mastery of language produces gooder writing is false.
if you believe that any of these notions have actually helped you to become a gooder writer, i assure you the connection (perceived) is coincidental. in short, everything you have thus far believed as it relates to gooder writing is false. once you have purged your quill of these dumbass beliefs you will be ready to work on your bow.
ii. observation is what goes in, it's something else entirely that comes out
were you a gooder writer this would be perfectly clear to you. but since you are not i shall make it crystal clear.
what one observes should not also be what one relates. a blue bird, for example, once recorded by the brain, should not then be preserved by that brain for the purpose of recitation. the recordation of the blue bird should serve as a template that will become sublimated, transformed, coalesced (with x), enhanced. i shall call this the 'alchemization' of the blue bird. this, like observation, is an involuntary reflex of the limited human brain that requires little of its already teenie-weenie functional capacities.
should someone observe a blue bird only to recite 'blue bird' or 'flying blue thing with some other sharp pointy thing on its head' we can say that what that someone is reciting is the original recordation of the blue bird which served as the brain's template. this is non-fiction/journalism crap and does not comprise gooder writing. the alchemization of the blue bird, although complete, is inaccessible to this someone (you).
iii. the two necessary events following alchemization that bring about the effect known as gooder writing
although the involuntary alchemization of what one observes provides the stuff of gooder writing, the ability to access this stuff without de-alchemizing it or un-transforming it is what separates gooder 'writers' from less gooder 'writers'. it is therefore necessary that two events occur following alchemization:
1. the destruction of the original recordation that served as the template from which the alchemization occurred.
the destruction of the original template launches the mind into a realm known as 'imagination'. the destruction of this template can also be called 'letting go'. i'll note for you, although it should be obvious, that the 'letting go' does not occur prior to the alchemization, nor is the 'letting go' necessary for the alchemization to occur. the letting go or destruction of the original template facilitates the accessing of the alchemization from the area the alchemization occurred (the imagination). should the original template not be completely destroyed, the effects produced would be similar to dada or beat as the mind is still hanging by one arm, so to speak, from the partially undestroyed original template. the mind, in turn, wanting to let go but not having the courage to completely let go produces writing based on this awareness, which resembles something that may have been the effect of this 'letting go' but in reality is an effect produced by wanting to let go, being afraid to let go, not wanting anyone to know you are afraid to let go, and finally not being able to let go. this is not gooder writing. what what? no, what's more, 'letting go' artificially by some external means is also evidence of the lack of courage necessary to let go. this also depreciates the original template, for even though the original template must eventually be destroyed, seeing it as it is is vital to its alchemization. this type of artificial letting go also produces royal crapola.
the destruction ('letting go') of the original recordation that served as the template from which the alchemization occurred is the most difficult and important part of gooder writing. should one not destroy the original recordation or 'let go', the ability to access the alchemized blue bird in the 'imagination' is impossible. it may seem like a simple thing to do but i assure you (yet again (peasants)) that less than 1% of 1% of the entire human population, present and past, has ever had the ability to 'let go' for the purpose of producing gooder writing.
2. the accessing of the alchemization of the original recordation.
once one has 'let go', the ability to access the alchemization of the original recordation is academic. it is not a matter of how this accessing occurs, just as it is not a matter of how one gets wet in the ocean. it simply occurs.
in conclusion re: the introduction
it is my hope that with this basic introduction to gooder writing that most of you will see the futility of attempting it and give up completely, therefore assuring these dead eyes that they will not see anything that is not gooder writing. if, however, you wish to 'hope against all hope', a more nuanced elaboration of this introduction might follow. though i doubt any of you dumbasses will get it.
dead henry
i'd like to have a word with some of you so-called writers. a fireside chat, if you will, on why the various entries that i, in my dead state, did read and why they were not up to—yes, you know the word. i re-translated my thoughts from english and put them here to you in order to effectively communicate what makes gooder writing with the hope that you all will understand why we (pretend genius) agreed with the judgement of the judger of this contest.
the dramatic judgment and the ensuing humanicus dumbassicus vitriolicus (yes, i speak portuguese) that followed has inspired me (dead henry) to issue forth observations on gooder writing. i (still dead henry) have from time to time been known to offer something or other to those who seek it. not all of this something or other is understandable, however, and based on the cloistered nature of the human brain (meaning yours) this is not surprising. but due to my philoprogenitive nature i shall rise above the tendency of most 'writers' to horde and shall therefore generously particularize the monads of gooder writing for you in this introduction in the hopes that you will accept the judgement and move on with your so-called lives.
i. addressing the fundamental flaws in your approach
- the notion that gooder writing can be learned is false.
- the notion that reading can help you become a gooder writer is false.
- the notion that 'workshopping' can make you a gooder writer is false.
- the notion that feelings (suffering, love, happiness, grief, the 'heart') is the birthplace of gooder writing is false.
- the notion that the telling of a good story comprises gooder writing is false.
- the notion that mastery of language produces gooder writing is false.
if you believe that any of these notions have actually helped you to become a gooder writer, i assure you the connection (perceived) is coincidental. in short, everything you have thus far believed as it relates to gooder writing is false. once you have purged your quill of these dumbass beliefs you will be ready to work on your bow.
ii. observation is what goes in, it's something else entirely that comes out
were you a gooder writer this would be perfectly clear to you. but since you are not i shall make it crystal clear.
what one observes should not also be what one relates. a blue bird, for example, once recorded by the brain, should not then be preserved by that brain for the purpose of recitation. the recordation of the blue bird should serve as a template that will become sublimated, transformed, coalesced (with x), enhanced. i shall call this the 'alchemization' of the blue bird. this, like observation, is an involuntary reflex of the limited human brain that requires little of its already teenie-weenie functional capacities.
should someone observe a blue bird only to recite 'blue bird' or 'flying blue thing with some other sharp pointy thing on its head' we can say that what that someone is reciting is the original recordation of the blue bird which served as the brain's template. this is non-fiction/journalism crap and does not comprise gooder writing. the alchemization of the blue bird, although complete, is inaccessible to this someone (you).
iii. the two necessary events following alchemization that bring about the effect known as gooder writing
although the involuntary alchemization of what one observes provides the stuff of gooder writing, the ability to access this stuff without de-alchemizing it or un-transforming it is what separates gooder 'writers' from less gooder 'writers'. it is therefore necessary that two events occur following alchemization:
1. the destruction of the original recordation that served as the template from which the alchemization occurred.
the destruction of the original template launches the mind into a realm known as 'imagination'. the destruction of this template can also be called 'letting go'. i'll note for you, although it should be obvious, that the 'letting go' does not occur prior to the alchemization, nor is the 'letting go' necessary for the alchemization to occur. the letting go or destruction of the original template facilitates the accessing of the alchemization from the area the alchemization occurred (the imagination). should the original template not be completely destroyed, the effects produced would be similar to dada or beat as the mind is still hanging by one arm, so to speak, from the partially undestroyed original template. the mind, in turn, wanting to let go but not having the courage to completely let go produces writing based on this awareness, which resembles something that may have been the effect of this 'letting go' but in reality is an effect produced by wanting to let go, being afraid to let go, not wanting anyone to know you are afraid to let go, and finally not being able to let go. this is not gooder writing. what what? no, what's more, 'letting go' artificially by some external means is also evidence of the lack of courage necessary to let go. this also depreciates the original template, for even though the original template must eventually be destroyed, seeing it as it is is vital to its alchemization. this type of artificial letting go also produces royal crapola.
the destruction ('letting go') of the original recordation that served as the template from which the alchemization occurred is the most difficult and important part of gooder writing. should one not destroy the original recordation or 'let go', the ability to access the alchemized blue bird in the 'imagination' is impossible. it may seem like a simple thing to do but i assure you (yet again (peasants)) that less than 1% of 1% of the entire human population, present and past, has ever had the ability to 'let go' for the purpose of producing gooder writing.
2. the accessing of the alchemization of the original recordation.
once one has 'let go', the ability to access the alchemization of the original recordation is academic. it is not a matter of how this accessing occurs, just as it is not a matter of how one gets wet in the ocean. it simply occurs.
in conclusion re: the introduction
it is my hope that with this basic introduction to gooder writing that most of you will see the futility of attempting it and give up completely, therefore assuring these dead eyes that they will not see anything that is not gooder writing. if, however, you wish to 'hope against all hope', a more nuanced elaboration of this introduction might follow. though i doubt any of you dumbasses will get it.
dead henry
Tuesday, January 01, 2008
Review
James Browning Kepple & Kim Gorannson, Couplet
"Couplet is an ingenious object: two poets' respective collections printed back to back. Each poem is faced, not with a blank page, but with the other poet's upside-down poem. Hey, it saves paper." (Rambles.NET)
Ernestine Colcupisco
"Couplet is an ingenious object: two poets' respective collections printed back to back. Each poem is faced, not with a blank page, but with the other poet's upside-down poem. Hey, it saves paper." (Rambles.NET)
Ernestine Colcupisco
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