"The little ripple shall find waves."-Lyn Hejinian

And that line gives off more than the little ripple that could

One line creates an entire career in a crucible

The fortune placed in a few words fortunate enough to be near each other

She who puts them near

We who extract those few words, and place them near again

In this:
glory flower, a winged case sheep flaked violet-purple
a gift of stock soap,
soft-voiced and weak-nerved
play gin rummy with a brick sorter crew stuffing boxes into recesses
cutoff drainage holes for a chiselled tooth


Judaeo-christian power-gas breaks a van?

There is a certain eye. The eye that knows for what it looks, even in a stilted sentence. An eye that concludes in an aftermath. It can be your eye or my eye that see. What does the eye tell? The unique eye that speaks, even though all our eyes speak in an eye-silence.

[Question of the day?
getoutthere.com It's all of the fat and gristle we love so much. It's all of all and more. It was a fab decision to have someone benefit me out. Now I've got halitosis and tooth decay to go my way for once. I smile and breathe on all the pretty girls and they just wiggle in excitement. Trust you me. It's the ticket to temptation. Take the ride.
Even hairdressers are broken in quantity by my greasy thighs, shaven for a visit to the back ground were countless flaming eyes stare off in the direction of cliffs along my sooted hands. I ask you this and no more: where is my naked chef and tuxedoed chicken? Who will absolve us of our sneers? Our clinical addiction to sterlizers and onion soup? Minions will organize around a singular need, I know. We all will become one need, the need. The end to a Gabriel to begin the Gabriel, the Gabriel of Gabriels, the one the monotheist go on and on about.
For thus we dream.
For thus we forsake.
In green, we fuss.
It was too good of a form to pass up
It is there in the text of fragments
All that one needs here:]
WHAT IS R. M. Berry redux
the principal mark of radically innovative [] its somehow posing the question of its own nature and existence This means that is always in some sense about itself, but this does not mean that it is "metafiction." On the contrary, radically innovative takes the question of itself into its form and medium, making the achievement of text a continuous discovery
some short exercises with disclosed frames, fake texts [no matter the frame of text, text is text, even when fake], narrative displacements, convoluted devices. In particular, the meaning of words becomes both [or more]

NIXON REMIX Michael Martone redux

Philip Roth [and] American fiction are often outdone by the reality of American fact concluded that in the news and in history[. ]Who wouldn’t have wanted to invent Richard Nixon? [I, Frank Sauce, wouldn't have invented Richard Nixon, but we did] Let alone a character? Roth himself[,] his fiction trumped.
This [is] be a course on appropriation. We will be considering to use free-floating shared narratives collective cultural consciousness history of fact in complete fictions. In a sense, we will be covering shit importing the goings-on of domain into our [particulars. if you know what I mean]
You might think of this as a class. What, in fact, is a fact? Fake essays and mock memoirs and monologues

FICTION AS SPACE Lance Olsen redux

This will revolve around three designed to explore how one can and should open up. For instance, in one , we shall investigate how richer by living commensally alongside, in, and/or among several forms.[can this be done?] What might happen, we shall ask ourselves, at the of [in] fiction and photography [and] music [and] video [and film and] theory [and] poetry [and] text [and] drama [and] sculpture [and] painting? [see Art, he's an important character]
In other words, we shall think of fiction and the creative process, techniques, the ideas of "the" and "the," and current the--finally, I hope, bring relief why and how we do what we do to three nascent [free form compounds,] narraticules a piece.

EASY PIECES: HOW TO FORM Lidia Yuknavitch redux

What happens if we turn away from the? Might other models of form emerge, which better to the [the] present? Drawing from notions of narrative, the model of the "kaleidescope" (Marcel Proust, Marguerite Duras), and more experiments fractur[ed] devices and the interruption with the visual, let loose from meaning-making and market-forms. Participants will explore the fragment to tell a text.

WRITe OBSESSION Susan Steinberg redux

If one believes that must be inspired obsession, by those very things we can't keep then shouldn't the itself reflect the? Could "Howl" have been written? Could "The Lover" have been written? Perhaps, perhaps.
In this we explore the in which various modern authors effective obsession consider the inextricable form and content, paying particular attention to devices.
We will also try ourselves to extract the to match our content to a form, the multitude options in terms of voice and [text]

OTHER IMPORTANT POSSIBILITY SPACES
BEYOND THE PAGE

each day of there will be an ongoing between image, text, music, photography, text, you name it. see what the space can "do"--beyond the page.

ONE ON ONE

one-on-one will be available to those who would like individual.

FC2 is one of the few alternative presses in America devoted to publishing fiction considered by America's largest publishers too challenging, innovative, or heterodox for the commercial milieu. Please visit us at: http://fc2.org/
[It's fun and meaninful and easy. Good books, that is]