A Moment: Vanuatu Seismicity: Ground Flow

By Paul D. Miller aka Dj Spooky

A moment, a date: Tuesday, August 10, 2010. It’s not every day that you have a moment where you land in the middle of an earthquake, but that’s exactly what happened to me. Imagine when a flight lands. If everything is as it should be, you usually get some rough and tumble bounce-roll motion. The plane’s shock absorbers do their thing, and the kinetic motion of the aircraft’s collision with the tarmac is transmitted from the wheels of the plane straight through to your body, and the movement of the plane from air to ground is gracefully arrested. I fly a lot, and I’m always in the suspended place between movement and stillness when the plane lands .If you’re in a flight that is landing, one of the first things that goes through your mind is a sense of relief when the wheels touch the ground.
This didn’t happen on Tuesday, August 10, 2010. The plane landed after a 5-hour flight from New Zealand to Port Villa, the capital of Vanuatu, part of an 83-island archipelago in the middle of the South Pacific’s “Ring of Fire” – a region of the world where several tectonic plates meet. This makes for a lot of earthquakes and land tremors above and below the oceanline. We also happened to land in the middle of a 7.5 magnitude earthquake. A situation that etched itself into my memory.

Everything suspends in an earthquake – time becomes elastic, electricity turns on and off, and all aspects of modern life grind to an eerie halt. In a generic sense, the word “earthquake” describes any “seismic event” – whether a natural phenomenon, or one caused by humans—that generates seismic waves. Earthquakes are metaphors made into physical fact. Metaphors are ways of framing an experience, defining a situation, and like other kinds of social human behavior that are “metaphorical,” sometimes when facts “on the ground” become the actual space of an event, that’s when you really know that you are in a moment. You inhabit the space-time of the scenario. Earthquakes are generated by phenomena that mostly relay a checklist of collisions: they’re caused mostly by rupture of geological faults, but also by volcanic activity, landslides, mine explosions, underground nuclear tests. An earthquake’s point of initial rupture is called its focus or “hypocenter.” The term epicenter refers to the point at ground level directly above the hypocenter. Sometimes, that’s how you can think of change in a human context too. The moment an earthquake occurs, you trace the after effects through concentric time lapsed feedback, mechanisms, kind of like watching a stone drop onto the surface of a pond, but what ripples is earth, not water. The usual way of thinking about an earthquake is to put a spin on the scene: the result of a sudden energy release in the Earth’s crust that creates seismic waves. This seismicity of an area refers to the frequency, type and size of earthquakes experienced over a period of time. The moment magnitude (or the related and mostly obsolete Richter magnitude) of an earthquake is conventionally reported, with magnitude 3 or lower earthquakes being mostly imperceptible and magnitude 7 causing serious damage over large areas. Intensity of shaking is measured on the modified Mercalli scale. That’s the way we do things these days. Richter Scale is so 20th century.

When I landed, the ground and the plane entered a complex dance. The plane’s body trembled, creating frisson that sent shockwaves through my body. No one on the Air Vanuatu Flight NF 0053, stood up. An announcement was played over the speakers, telling us something to the effect that our flight had landed in the middle of a highly irregular situation. A major 7.5 magnitude earthquake struck Vanuatu on Tuesday, August 10, 2010, producing a small tsunami and sending thousands of anxious people running for the island’s hills. The underwater quake, 35 kilometers (22 miles) deep and merely 40 kilometers from Port Vila, shook buildings in the city for about 15 seconds, but did not cause vital damage. The guests of foreign hotels and some residents raced to higher ground in case of tsunami, locals said, and police sounded sirens to inform people to abandon homes and to get out into the open. We were stuck on the plane because the airport was considered unsound. The ground moved, and moved again. The plane rested on the tarmac, and we watched the airport sway with the ground tremors that rippled beneath our feet. Our captain mentioned that the Pacific Tsunami Warning Center announced that a 23-centimetre (9.2 inches) tsunami struck Port Vila, and he warned us that bigger waves could be seen in further areas. By way of our captain, the Pacific Center said that “Higher wave amplitudes may yet be observed along coasts near the earthquake epicenter”. As I sat in the seat with world rippling around me, the South Pacific did a graceful ballet with all the aspects of civilization that I take for granted: watching buildings sway with the palm trees, the plane ebbing-flowing on the tarmac, and the water near the airport ripple with a power far beyond the movement of the waves. That’s when I really felt the metaphor of the moment. I felt like a leaf in a pond, dancing to the rhythms of the planet. That was my moment. Suspended, floating on the ocean of the Earth, the logic of our civilization turned to flotsam and jetsam. The airport, the plane, the runway, all spoke a language that the earthquake didn’t. I liked that.


a novel by J.A. TYLER and

ART: orginal images by John Dermot Woods

SOUND: original music by Stethoscope

FINE ART LIMITED EDITION: Fine art limited edition of 25 of each set:  (1) The text is printed on low-grade recycled paper and contained in a recycled cardboard box whose cover hides a papier-mache mold of a human heart. The box is gift-wrapped in exquisitely rendered paper printed with the book’s images. The reader must destroy the art to read the words.  (2) The images are printed on low-grade recycled paper and contained in a recycled cardboard box whose cover hides a papier-mache mold of a human heart. The box is gift-wrapped in exquisitely rendered paper printed with the book’s text. The reader must destroy the words to see the art. Choose.

“This is a remembering and we only want to be gone. We never want to be chained. We are fed. We don’t know what it is we, you and I, us, me and you we want. I don’t know what we want. You don’t know what we want, but I dreamt last night that we cut ourselves so deeply that rain poured out and the world flooded and we had the chance to be some kind of new absent.”


no one art01art from No One Told Me I Was Going To Disappear


J.A. TYLER is founding editor of the online quarterly MudLuscious and Mud Luscious Press, both venues for “aggressive / experimental writing.” Since its inception MudLuscious has been publishing authors known or becoming known for breaking with method and expectations about form, both on a narrative and sentence level.


is the author of the novel, The Complete Collection of people, places & things. He writes stories and draws comics in Brooklyn, New York, and edits the arts quarterly, Action, Yes. He also organizes the online reading series, Apostrophe Cast and is a professor in the English Department at Nassau Community College on Long Island.


TEXT:Greg Bachar, Elizabeth Burns, Jennifer Calkins, Jane L. Carman
Kylee Cook, Beth Couture, Dirk Cowan, Justin Dobbs, Trevor Dodge, Meredith Doench, el buffalo, April Gigliotti, Christopher Grimes, Steve Halle, Jeff Hansen, Michael Harold, Garrett Hayes, Jacqueline Heffron, Lily Hoang, Nor Huda Mohd Izam , Eric Jeitner, Steve Katz, Kimberly Koga, Stacey Levine, Marilyn Jane Lewis, Robert Lopez, Cris Mazza, Joe Milazzo, Kathleen Miller, Scott Million, Theresa A. O’Donnell, Jordan Okumura, Melanie Page, Mitch Parker, Aimee Parkinson, Jack Rees, Ae Reiff, Doug Rice, Thad Rutkowski, Davis Schneiderman, Mikal Shapiro, Gary Shipley, Ascot Smith, Rob Stephenson, Helen Tran, Holms Troelstrup, J. A. Tyler, Laura Vena, Hal Wert, Lane William, Alyssa Wisene, Lidia Yuknavitch

DIRTY : DIRTY will be produced in 5 editions:
1. Fine art limited edition of 25 (ea. $20,000) – February 2012
3. Color paperback (ea. $49) – December 2011
4. B/W paperback (ea. $16.95) – May 2012
5. ebook – contains only text (download $9.99) – August 2012

“When all is ending, you find yourself sending text messages to a 19 year old in California that read ‘I need you to come in my mouth’ and ‘I want us to fuck each other to sleep.’ He will write back with ‘Yes.’ And ‘We will,’ will call you ‘lover’ and ‘ghost.’ While there is not much more to be said, you will continue to say it. Your mouth spills words like salt. When all is ending, you are wet for days. It is summer. Your body and your cunt drip and don’t stop. You are overflowing. You compare the boy to a river, and he doesn’t thank you. Instead, he talks about incest, says he will make you call him ‘brother.’ You don’t know how to pronounce his real name, so you never say it.”

– Beth Couture, from her dirty writing titled, “Ghosts”


Book as Medieval Artifact

Hand-engraved leather cover emblazoned with various metal studs and adornments. Contains one original, signed painting by the artist, plus all 20 prints signed and numbered, on 22″ x 30″ archival paper. Dirty text is handwritten in calligraphy.

Limited Edition of 25.
Price: $20,000

The artist, Hiroshi


a novel + short story by Christopher Grimes

ART: To be announced

TEXT:To be announced

“Grimes…creates the poignant stomach ache of human experience that is dramatic fulfillment.” – Cris Mazza

More Praise for Christopher Grimes

“Think Marcel Duchamp, with a pen and a stiff lip.”
–Miles Clark in

“Christopher Grimes has given us just this, a new emergence of narrative form and narrative consciousness–if not the fist, then certainly, to date, one of the most effective literary realizations of the individual’s relationship to the human and inhuman systems that contain him.”
–Jayson Iwen in PLEIADES.

“In sum, Grimes provides a public service by presenting readers the opportunity for substantive yet fun reflections on the perversity of our neoliberal condition.”
-Eric Dean Rasmussen in OTHER VOICES.

porn twin


Limited Edition: Published as both a 148-page single sentence novel and a collection short stories (sold only with the novel), the fine art limited edition consists of the novel coiled inside a plastic zippered cover resembling a breast. The breast is contained in a lock-and-key plexiglass box full of scented KY Jelly. The short stories are attached as a traditional book form (with recycled hardback cover) to the bottom of the plexiglass box, thus visible through the KY jelly and plexiglass.


CHRISTOPHER GRIMES is the author of Public Works: Short Fiction and a Novella (FC2, 2005). His award-winning short fiction has appeared in Western Humanities Review, Beloit Fiction Journal, Reed, Cream City Review, First Intensity, Knock, and elsewhere. He teaches literature and ficton writing at the University of Illinois at Chicago.

Examples of our preorder gifts

Pig & Crow Italian Charm &
Stainless Steel bracelet

BYB gift
Miniature bamboo reed holds tiny scroll with text by David Hoenigman and art by Yasutoshi Yoshida.
Sculpture with imprint of sea turn and title, BLANK.
Signed on reverse by author Davis Schneiderman.
lily puzzle
Original lincocut of author Lily Hoang, printed on 5″ x 7″ puzzle. Signed on reverse by the author. No two are alike

daughter gift

Hand embossed portfolio & envelope, contains photo printed on beautiful mulberry paper, signed by photographer Rochelle Ritchie Spencer.
Daughter Gift Word only

Red Arrowhead
Recycled glass arrowhead from “The Metaforest” PLUS your choice of limited edition, signed posters printed on sustainable mulberry paper.
Carns Poster


a novel by Janice Lee

ART: Original Holga photographs by Rochelle Ritchie Spencer

SOUND: original music by Resident Anti-Hero

“Janice Lee is a genius.”
– Eileen Myles, author of Inferno (a poet’s novel)

“Daughter is quantum.  There is a girl, there is an octopus, there is language — in minimal bursts of physical intensities, their magnitude measured in intimate discretes. Janice Lee’s prose is energy transfer of the elementary particles of the matter of language.  There is a girl, there is an octopus, there is language, understood at the infinitesimal level.  No other book ever written has entered my body and being so physically pure.  There is not distance between the state of narrative and the matter of being.  I turn the page of her body.”
 – Lidia Yuknavitch, author of The Chronology of Water and Reel to Reel

“Daughter, the new volume by Janice Lee, seems to rise as intuitive quantum ascent. It is praxis of the marred, of the seemingly uneven. Janice Lee understands that writing cannot exist as narrative outcome. In Daughter there is reckoning with the cosmos as phantom, as something that does and does not exist. Energies appear by means of paradox and evaporation.”
– poet Will Alexander, author of The Sri Lankan Loxodrome

In Daughter, Janice Lee floods the body of a book with the body of a body, all its hybrid, constantly damaging and mending cells. From field to field among the pages we are subject to a brain-damaged, collide-o-scopic file of some internet-age Acker’d Frankenstein having lived to see god die; and yet still must go on walking in the deity’s corpse, inside of which the billion bodies in such image have built our huts of shit and shit inside them. “The sea is a mysterious force, but there is no sea in the desert,” she writes, prodding at the hole left in the fabric on the earth between the homes: another phantom in a field of phantoms who themselves have again died. The result is a meticulous and terrifying resurrection, a glitchy screamtext passed in dire silence to the reader the way blood passes from mother into child.
– Blake Butler, author of There is No Year

The word “monster” derives from Latin monstrum, an aberrant occurrence, usually biological, that was taken as a sign that something was wrong within the natural order. (Wikipedia) As Janice Lee proves, the same is true for daughters. Lee’s surgical cadences and sharp fragments work here as writing will work-to force attention to detail. Which is the unnatural order of things.
– Vanessa Place, author of La Medusa and Dies: A Sentence



FINE ART LIMITED EDITION: An autopsy kit containing handcrafted surgical tools and various medical artifacts, including casts of octopi body parts in apothecary bottles. The kit is an aged wooden box with a secret compartment containing the novel printed on transparent “skin” and laid upon a bed of sand. Contains flash drive with soundtrack, Monster,” by Resident Anti-Hero. COMING SOON!

janice lee

Janice Lee
is a writer, artist, editor, and curator. She is interested in the relationships between metaphors of consciousness and theoretical neuroscience, and experimental narrative. Her work can be found in Big Toe Review, Zafusy, antennae, sidebrow, Action, Yes, Joyland, Luvina, Everyday Genius, elimae, Black Warrior Review, and elsewhere. She is the author of KEROTAKIS (Dog Horn Press, 2010), a multidisciplinary exploration of cyborgs, brains, and the stakes of consciousness; and a chapbook Red Trees. She holds an MFA in Creative Writing from CalArts and currently lives in Los Angeles where she is co-editor of the online journal [out of nothing] and co-founder of the interdisciplinary arts organization Strophe.



Headquartered in Seattle, Washington, Jaded Ibis Press publishes fine and unusual works of literature, CDs, DVDs, and related prod ucts. Our intent is to facilitate the convergence of diverse media and art forms, and give wide exposure to literary, visual and musical artists of exceptional talent.


Jaded Ibis Press publishes each book in four editions: ebook (under $10), black-and-white paper ($12-24), color paper ($30-80), and fine art limited editions ($2000-20,000). Each title includes visual art by a notable artist or artists and an audio track of music, spoken word or sound art. Fine art editions incorporate a variety of materials and conceptually reflect the content of the book.

In Daughter, a daughter/doctor encounters the dead body of an octopus in the desert, perhaps the corpse of a lost god, and through her study of his physical organs, sheds more light on her relationship with the world at large somewhat similar to where you get more knowledge about the various automated trading systems popular in the trading world. A look at this site will shed more light on the complete process of trading using robots and you will not end up asking questions about trading unlike in the book where you ask What is it like to be a daughter? What is it like to be God?, the text asks, intuiting implications of the consciousness of God and of the hermetic vessel that is narrative itself, while  revealing the sanctity of living, the unholy holiness of strange encounters, and the hidden mysticism of language.


Jaded Ibis Press pays our authors 40% net royalties, compared to the traditional 71/2-10%. We pay our visual artists 10% net royalties, and our musicians each share in the 50% net royalties from the CD. Jaded Ibis Productions produces the CD compilation of music created for the previous 10-12 titles.


The editors at Jaded Ibis Press are award-winning writers of innovative prose and poetry.

We are dedicated to the continuing evolution of the literary arts, and to discovering and supporting new writers of 21st Century literature.  We have years of dedicated teaching experience and frequently lecture on literature, including 21st Century narrative forms, at universities and writing conferences throughout the country.

 Debra Di Blasi also worked in advertising, magazine production management and art journalism, and holds a degree in visual art, in addition to studies in poetry and fiction.

Sam Witt graduated from The Iowa Writers’ Workshop and University of Virginia, and worked as a free-lance journalist in San Francisco for several years, publishing in such magazines as Computerworld, the San Francisco Chronicle, Salon and Wired.

Debra Di Blasi
Publisher & Prose Editor
Debra Di Blasi

Sam witt
Poetry Editor
Sam Witt


Jaded Ibis Press uses digital and print-on-demand publishing because we care about the fate of the environment. Our business decisions are guided by an attempt to perpetuate literature that is intellectually, culturally and ecologically sustainable.


Each year in the U.S. alone hundreds of thousands of new titles are published by traditional printing methods; that is, in bulk quantities. An average of 150,000 multiplied by an average print run of 5,000, multiplied by an average of 200 pages per book equals nearly 150 Billion (150,000,000,000) pages annually, plus book covers and jackets.

Half of these books will be returned to their publisher and destroyed or liquidated. Those that cannot be liquidated will also be destroyed.

Timber is cut down not only for the billions of book pages and covers but also for the wooden pallets on which to ship the books. Two-thirds of the world’s cut wood, including rare hardwoods, is used for shipping pallets.

It’s difficult to put a number on the enormous amount of energy used to warehouse undemanded books; to manufacture the ink, paper, binding materials, and shipping pallets; to transport the pallets from printer to warehouse to bookstore; to process the fuel used to transport the pallets of paper products and books, to manufacture the transport vehicles, to manufacture the parts used in manufacturing the vehicles, ad nauseam.


a novel by Davis Schneiderman
with pyrographic drawings by Susan White

Davis Schneiderman’s 200-page novel, Blank, contains only compelling chapter titles.  The story is – as it always has been – up to the reader.  White-on-white pyrographic images are by notable artist Susan White.  The fine art edition is shrink-wrapped and enclosed in a wooden box that is fully encased in plaster and can be opened with a pull-tab.  Once opened, the box cannot be re-encased.  Music will be composed and performed by renowned experimental hip hop musician, DJ Spooky, That Subliminal Kid (a.k.a. Paul. Miller).

Davis Schneiderman is a multimedia artist and writer and the author and editor of eight books, including the novels Drain (TriQuarterly/Northwestern) and Abecedarium (Chiasmus) and the forthcoming blank novel, Blank: a novel (Jaded Ibis); the co-edited collections Retaking the Universe: Williams S. Burroughs in the Age of Globalization (Pluto) and The Exquisite Corpse: Chance and Collaboration in Surrealism’s Parlor Game (Nebraska); as well as the audiocollage Memorials to Future Catastrophes (Jaded Ibis). His creative work has appeared in numerous publications including Fiction International, The Chicago Tribune, The Iowa Review, TriQuarterly, and Exquisite Corpse. He is Chair of the English Department at Lake Forest College, and also Director of Lake Forest College Press/&NOW Books. He edits The &NOW AWARDS: The Best Innovative Writing. He can be found, virtually, at 



DREAM TIME: Artist/Curator Anne Austin Pearce
What does the dream world have to do with the art world? BLEED host, Debra Di Blasi, talks with visual artist,
Anne Austin Pearce, who is also director of Greenlease Gallery at Rockhurst University in the new art center of
the US, Kansas City, Missouri.

Having a taste for art and to appreciate art is not everyone’s cup of tea.  However now trading in digital currencies like bitcoin, litecoin, etc can be done by everyone and it is not considered a specialized sector meant for few.  There are many suggested web page which you can go through to learn about it.

Reptile Dreams
Part 2:
Directing Dreams

Part 3:
Animal Dreams
Part 4:
Walmart Dreams
Part 5:
Huminal Dreams

Anne Austin Pearce studied at the Kansas City Art Institute, Brighton England Polytechnic, and University of Kansas, where she
received a BFA in printmaking. In 1996 she completed her MFA in painting and Drawing at James Madison University. Currently
Anne is a Visiting Assistant Professor at Rockhurst Universityi, and director of Greenlease Gallery of Art. Her drawings and paintings
have been exhibited widely in U.S. galleries and abroad, and reside in many private collections.

SMART LIT: Sissy Boyd, Teresa Carmody, Vanessa Place
Who’s writing (and publishing) the future’s literary classics? Actor and playwright Sissy Boyd, Les Figues publisher
and novelist Vanessa Place, and Les Figues editor and novelist Teresa Carmody. Debra Di Blasi meets up with them
outside the Pod Hotel in New York.

Dancing / Words:
Actor-Playwright Sissy Boyd

Sissy Boyd
Sissy Boyd

Sissy Boyd
studied with Martha Graham and has danced with many diverse and avant-garde companies in NYC. She has appeared in the video art of Peter Campus, the films of Mark Rappaport, and several Allison Anders films. She studied poetry with Holly Prado, and playwriting with John Steppling. Several of Boyd’s plays have been produced, including: The Definite Child, directed by Wes Walker and Green Shoes, which she directed (an LA Weekly Pick of the Week). Her play Liddy was the text for Guy Zimmerman’s short film by the same name. Boyd is a former member of Oxblood Theater Company and a current member of the Evidence Room Theatre Company and Ken Roht’s Orphean Circus. In 2005, She was featured in Fearless Women (Stewart, Tabori & Chang). Her book, in the plain turn of the body make a sentence, Two Plays by Sissy Boyd, was published in 2006 by Les Figues Press.


Observer : Observed
Novelist-Editor Teresa Carmody

Teresa Carmody
Teresa Carmody

Teresa Carmody is the author of Requiem, a micro-collection of short stories, which American Book Review calls “a celebratory lament” and poet Carol Muske Dukes calls “a Midwest scriptural mist: frank, fierce and fidgety, and most emphatically her own.” Other work has appeared in PoetsWest, Stolen Purse, Roar: Women’s Studies Journal, For Here or To Go, and 4th Street. She is cofounder and editor of Les Figues Press, publisher of the TrenchArt series of experimental literature, and co-curator (with Stan Apps and Ara Shirinyan) of the Smell Last Sunday Reading series in downtown Los Angeles.

Sense of Place:
Novelist-Publisher Vanessa Place

Vanessa Place
Vanessa Place (PART 1)

Vanessa Place (PART 2)

Vanessa Place is the author of a 50,000-word, one-sentence novel, Dies: A Sentence (2005), and a chapbook, Figure from The Gates of Paradise (Woodland Editions/Five Fingers Review); her nonfiction book, The Guilt Project: Rape and Morality, will be published by Other Press, and her novel, La Medusa, is forthcoming from FC2/University of Alabama Press. Place is a co-founder of Les Figues Press, publisher of the TrenchArt series of experiments in literature, and works as a criminal appellate defense attorney. She lives in Los Angeles.

An interview with editor, Nava Renek, and seven writers included in the anthology, Wreckage of Reason: XXperimental
Women Writers of the 21st Century
. In April 2008Debra Di Blasi sits them down at the fabulous &NOW Festival of Innovative Literature
and Art, in Orange, California.
Made possible in part by a grant from the Arts Council of Greater Metropolitan Kansas City.

BLEED host Debra Di Blasi


Editor Nava Renek

Nava Renek has traveled extensively in Europe, Southeast Asia, Mexico and the United States, and lived in various parts of the world including Singapore, London, and San Francisco. She received her MFA from Brooklyn College where she works as a program developer and grant writer.

Danielle Alexander

Danielle Alexander holds an M.F.A. from the University of Iowa Writers’ Workshop and a Ph.D. from the University of Denver. She teaches creative writing, composition and rhetoric, and literature at Belmont, and her scholarly interests include the relationship between cultural memory and history, narrative theory and narratology, translation, and genre studies. She writes fiction and poetry and is currently working on a novel set in fifteenth-century Spain and England.

Amina Cain


Amina Memory Cain is the author of I Go To Some Hollow, a collection of stories that will be published by Les Figues Press in January of 2009. Her work has appeared in journals such as 3rd bed, Denver Quarterly, Sidebrow, and La Petite Zine, and is forthcoming in The Encyclopedia Project (F-K) and Action, Yes. With Jennifer Karmin, in Chicago, she co-founded the Red Rover reading series three years ago, and next winter the two will present a month long writing and performance festival, When Does It or You Begin? (Memory as Innovation)

Alexandra Chasin

Alexandra Chasin’s first book of fiction is Kissed By, published in 2007 by FC2/University of Alabama Press. Other creative work has been published in print in Denver Quarterly, AGNI, Chain, sleepingfish, West Branch, Phoebe, and The Capilano Review, and online in Exquisite Corpse, DIAGRAM, and elimae. Chasin’s fiction is driven by a preoccupation with language, ideas, politics, formal problems, and a desire to engage readers in serious – and playful – interaction with her texts. She received her PhD in Modern Thought and Literature at Stanford University in 1993, and went on to teach literary and cultural studies (with special interests in gender, sex and sexuality, race, and popular culture) at Boston College, Yale University, the University of Geneva, and Columbia University. Chasin’s first book was a work of nonfiction called Selling Out: The Gay and Lesbian Movement Goes to Market (St. Martin’s, 2000), which argued that the identification of gays and lesbians as a target market in the 1990s pulled the gay and lesbian social movement away from radical political goals of sexual liberation and subversion of traditional gender roles and toward more centrist goals like open inclusion in the military and access to marriage. Extracts from Selling Out were published in Cultural Critique and in Rethinking Commodification (eds. Ertman & Williams; NYU, 2005). Also in the scholarly vein, her article “Class and its Close Relations: Identity Among Women, Servants, and Machines,” was published in Posthuman Bodies (eds. Livingston & Halberstam; Indiana, 1995). Chasin is Associate Chair of Literary Studies at Lang College, The New School.

Megan Milks

Megan Milks is currently working on a Ph.D. in Literature and Creative Writing from the University of Illinois at Chicago. She has had critical work published on, Lost Magazine, Grapevineculture, and Sparknotes. Her fiction has been published or is forthcoming in DIAGRAM, Pocket Myths, Forge, and Wreckage of Reason. She publishes a magazine called Mildred Pierce, which more people should know about.

Aimee Parkison

Aimee Parkison, an Assistant Professor at The University of North Carolina at Charlotte, received a Christopher Isherwood Fellowship, a Writers at Work Fellowship, and a Kurt Vonnegut Fiction Prize. Her story collection, Woman with Dark Horses, was published by Starcherone. Parkison’s work has appeared in or is forthcoming from The Literary Review, Feminist Studies, Mississippi Review, North American Review, Quarterly West, Santa Monica Review, Other Voices, Crab Orchard Review, Fiction International, Fugue, Yalobusha Review, Seattle Review, Texas Review, Nimrod, Hayden’s Ferry Review, So to Speak, and Denver Quarterly.

Cynthia Reeves

Cynthia Reeves is a fiction writer and poet. Twice nominated for the Pushcart Prize, her work has appeared in a number of journals and anthologies, including Ontario Review, Crab Orchard Review, and Colorado Review. In 2006, she earned her MFA in Creative Writing from Warren Wilson College. Badlands, her first book, won Miami University Press’s 2006 Novella Contest and was published in December 2007. The novella was also a semi-finalist in the 2006 Faulkner Writing Competition. Among other awards and recognitions, her first published story, “Dream of His Father’s Farm,” won the Potomac Review’s 2005 Annual Fiction Prize. “The Wedding Dress” was the winner of New Millennium Writings’ 2006 First Short-Short Fiction Prize, and another flash fiction, “Crossing to Minister’s Island,” placed third in Quarter After Eight’s 2006 Robert J. DeMott Short Prose Prize. She was short-listed for the 2007 Fish One-Page Prize, and was a finalist for the 2006 Dana Awards Portfolio Award, the 2006 Hidden River Arts Award, and Glimmer Train’s Fall 2004 Short Story Award for New Writers. Cynthia is currently writing a novel-in-stories set in post-World War I Italy, three of which have been published in Colorado Review, Silk Road, and Words+Images 2007, respectively. A native of the Philadelphia area, she lives with her husband and two children near Valley Forge, PA.

SOWING BOOKS: Writer Davis Schneiderman
How many years does it take to grow a book? Debra Di Blasi meets up with writer, professor and “book farmer” Davis Schneiderman, at Lake Forest College just outside Chicago, Illinois.


SOUTH AFRICAN URBAN: Writer Lauren Beukes and Publisher Michelle Matthews
What are literary women doing on the other side of the globe? With a winter ocean rumbling outside the windows of a
Cape Town flat, Debra Di Blasi talks with two South African women: fiction writer and co-writer/founder of the hit
animation series, URB, Lauren Beukes; and hip, young publisher of Oshun Books, Michelle Matthews.

Smell the new millennium

introducing the newest celebrity scents…

Hung™ and pe™ logos



The Jirí Chronicles & Other Fictions selected as a BEST BOOKS of 2007 by Steve Tomasula, John Gallaher, & Lidia Yuknavitch. Available at! CLICK HERE! to order the book now!

“Agitated, angry, inventive, iconoclastic, both literally and figuratively graphic, the real Jiri Cech would both revere and rape Emily Dickinson, then bottle all the blue flies she ever imagined and make a balm to annoint the body of his beloved. Or at least the object of his desire. Here is a series of tales, in varying keys, of intoxication and revenge, intoxication with whatever seduces, revenge for being seduced. An oblique memoir of family, an investigation of a mother’s misplaced life, flirtation with self-advertisement in the manner of supermarket tabloids, and above all the Chronicles of Jiri Cech, seducer supreme, rogue chauvinist, lover and enemy. Beware, reader, you’re in for a sumptuous, hypertextual, hypercharged ride. Hyperion himself would smile.” – David Hamilton, Editor of The Iowa Review

” Debra Di Blasi’s The Jirí Chronicles & Other Fictions is chaotic, brilliant and, like Jirí Cêch himself, possibly quite mad. With frenetic energy, Di Blasi mixes personal narrative with ad copy, traditional fiction with newspaper clippings, email messages, reportage, collage, and scholarship. The resulting concoction is consistently surprising, challenging, invigorating, and, most surprisingly of all, often deeply moving. Di Blasi has a mind unlike anyone else writing fiction today, and this is her finest work yet.”– Kevin Prufer, editor of Pleiades: A Journal of New Writing

” In Di Blasi’s visual rhapsody, time passing is us fucking, killing, and betraying each other; time stalled is our obsessive concern with the head of the spear. All our furies-fathers, the way roots rot, the puzzle of cross words, fathers-dance on the head of a pin, till we can’t help but laugh. Rage, cradled in Di Blasi’s brilliant hands, grows gorgeous. Mothers and trees from photos fade, and we enjoy an exquisite lack of orgasm, sobriety…and bears.” – Kass Fleisher, author of Accidental Species: A Reproduction