Medical practice as psycho-erotic soap opera. A mad philosophical speculation, a pseudo-scientific meditation. This is a horror show. Excerpts from Vanessa Roveto’s hybrid-genre manuscript, The Clinic, a finalist for the 2015 TS Book Prize.
"You ask yourself what value (in terms of life, of action) 'Up in Heaven’s' bizarre punk/pop fusion holds, for precisely which audience. You wonder if Mick’s departure from punk sound, if not punk sentiment, betrays its own escapist anxieties before what Nietzsche describes as the two worst contagions: 'great nausea at man,' 'great pity for man.'" Excerpts from Andy Fitch’s hybrid-genre manuscript, Garageland, a finalist for the 2015 TS Book Prize.
"I’m no amateur when it comes to negotiations, but I’m willing to offer you my head. I’m willing to sacrifice myself to continue the species. This is an institution of unsportsmanlike policies and I’m doing my best to generate a little public interest." Excerpts from Paul Cunningham’s hybrid-genre manuscript, GOAL/TENDER MEAT/TENDER, a finalist for the 2015 TS Book Prize.
"I watch a housewife on TV tell how she lost her leg at six to a farm machine. She’s beautiful—looks like a horse—but in her head she’s missing a leg." Excerpts from Arisa White’s cross-genre manuscript, dear Gerald, a finalist for the 2015 TS Book Prize.
"I want to help you understand what it is to kill something you have watched, but more so, what it is to kill something you have found beautiful." Excerpts from J'Lyn Chapman’s cross-genre manuscript, Our Last Days, a finalist for the 2015 TS Book Prize.
"Over a period of months a few years into his disease, my demented father penciled hundreds of thumbprint-sized, broken circles into the pages of a legal pad. An act of obsession or devil’s possession in the starburst of decline ..." Excerpts from Alexis Orgera’s cross-genre manuscript, You Don't Mind: A Memorabilia, a finalist for the 2015 TS Book Prize.
"Let’s think a bit about textual art that is ephemeral, outside, fugitive; text that isn’t carved into a building or a street or a stone or a wall. Let’s note the diminutive textual adventure. The infinitesimal moment. I want to think about earth texts beyond shelter. Going outside brings the death in a little, releases the work into the air. Poem as prayer flag. Poem as act against the immaculate. Text as emphatic and intimate protest."
In the wake of The Becoming (book 1 of the West of Kingdom Come quadrilogy), the feral twin brothers Rem + Rom "eggnawledge itchudder" and "reeleyes" their current state (fathered by a rogue member of the Lewis + Clark expedition and reared by a she-wolf) and build a log raft to "riverse ingenear" their father’s route-cum-rut that berthed them unceremoniously in spitting image at the mouth of the Columbia—all in the name of westward expansion.
Carl Ferrero's work has been exhibited at Feature Inc., Vox Populi, the Bronx Museum of the Arts, Artists Space, The Elizabeth Foundation, Los Angeles Contemporary Exhibitions, Exile gallery in Berlin, and Artenova in Italy.
"Her voice is like a carnation sucking water, sucking blue. / She drinks. Hello she says. / Yes she says like the lion of St. Mark, with liquid nonchalance…." Excerpts from Emily Carr’s hybrid manuscript, Name Your Bird Without A Gun: A Tarot Novel, a finalist for the 2015 TS Book Prize.