I am very pleased to announce the release of publisher Spuyten Duyvil’s newest collection of experimental prose by women, and proud to say I am included in it with my story “The Room is Glass.” I recommend you pick up a copy, not because it supports me but because you’ll find some damn good writing in there–Karen Lillis “Guide to New York City (circa 1992)” and Melanie Page “Metal Eye Drifter” among my favorites.
The editor, Nava Renek, and four contributors (Aimee Parkinson, Alexandra Chasin, Cynthia Reeves, Brooke Wonders) produced a panel at Seattle’s AWP conference, in which they discussed what makes prose experimental, which I really enjoyed because I don’t think my work is clearly experimental. By that, I mean I feel my work is still very accessible. Perhaps I like the term innovative writing better. Innovative writing has a smaller audience in mind, no pre-determined formula, and exists outside of easily defined narrative conventions.
Aimee Parkinson said, “innovative female authors constantly push boundaries of written expression, finding new ways to express diverse experiences and the diversity of their visions in an ever-transforming world.”
Alexandra Chasin notes that as women, we’re shackled by the knowledge that we are in danger, and our mobility is inhibited by this knowledge. Chasin advises a young woman to unshackle her mind and just “write like a fucking human being.” This, in and of itself is post-structuralism, she says, “the end of the Master narrative.”
Oh there’s more, so much more good stuff. Just click on any of these links and rock your world. I’m honored to be in the company of these brilliant women.