By Carol Ann Moon In September 1984, I headed to the Institut für Deutsch als Fremdsprachenphilologie, a.k.a. the Institute for German as a Foreign Language. I was so excited: all of my classes for the first time would be in German! Almost all of my classmates would be non-English speakers! I would be speaking, reading, … Continue reading Toward Generative Translation
By: Lucianna Chixaro Ramos The history of sci-fi fandom is deep. I am acutely aware of my shallowness when it comes to the genre—my longest forays into the realm of sci-fi involve defying the sophomore year reading list by spending an entire summer reading Dune and avoiding Warhammer conversations as much as is humanly possible. … Continue reading Harnessing the Fandom Phenomenon: A Call to Action for Expanded Fielders, Cross-Genre Writers and Artistic Innovators of All Types
Thanks to a great deal of work from our editors and contributors, the second issue of Obra/Artifact is live! If you haven’t already, give our “Technologic” selections a read, and explore how machines have become entangled in our private/public lives. Buy a PDF of Issue Two After you check out, be sure to click the "return to … Continue reading Issue Two “Technologic” Release & Call for Submissions
. . . He was the victim of an accidental discharge, uncontrolled carelessness with unconscionable consequences . . .
Rebecca Anne Renner “You don't have to burn books to destroy a culture. Just get people to stop reading them.” - Ray Bradbury My students groaned when I passed out the books. “I thought you said we weren’t reading another novel,” said the kid in front. “I was wrong,” I said. “We’re reading this … Continue reading Fahrenheit 2017
". . . Nafisi went on to speak for more than an hour, apologizing over and over again for her digressions and off-topic assays that were very clearly borne of a tremendous passion."
Announcements, a Call for Submissions, and AWP
There was something ineffably poetic about that silence . . .
In her essay “Sculpture in the Expanded Field,” Rosalind Krauss argues that postwar American sculpture (and painting) has been “kneaded and stretched” until it became “infinitely malleable.”[i] Something similar takes place in the writing of the expanded fielder.
I cannot power through this book, like so many others before, for one simple reason: it powers through me.