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.
Rebecca Anne Renner Greetings from the O/A editors! Six months ago, the adventure called Obra/Artifact began in San Miguel de Allende, Mexico. Since then, it has grown from a mere idea to a graduate literary magazine. All of this is thanks to our submitters and supporters, especially Juan Carlos Reyes and the MFA of … Continue reading State of the Obra – A Letter from the Founding Editor-in-Chief
Quizás is born out of the combination of the Latin phrase "qui sapt," or "who knows . . ."
Rebecca Anne Renner A few years ago, my friend “Michelle” was kicked out of the house where she’d been living with her uncle and his girlfriend. Michelle didn’t understand what she’d done; she’s not exactly a trouble maker. She’s more likely to be caught at home with a novel on a Saturday night than out … Continue reading Implications: On Writing Mental Illness and Why Representation Matters
. . . The Restless Writer stands tall as a pillar of alt-traditional literary gold . . .
Jared Alan Smith I once had a conversation with a Frenchman I’d just quit working for about the nature of American medicine: he said that each type of doctor has become so specialized that it is near impossible to find a physician to help with a variety of ills. When he asked me if I … Continue reading Writing In Great Places: Poetry At The Dali