. . . He was the victim of an accidental discharge, uncontrolled carelessness with unconscionable consequences . . .
". . . 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."
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
. . . 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