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.
Quizás is born out of the combination of the Latin phrase "qui sapt," or "who knows . . ."
. . . The Restless Writer stands tall as a pillar of alt-traditional literary gold . . .